Original subtitles

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'd worked on

ever.

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

that part of it actually worked, because the record is certainly, I think, the

best record we ever made. I think it's a fabulous album.

I think it will stand the test of time.

I mean, it's a great pity that it wasn't as fantastic

as it was intended to be.

Face I'm a madman

Roger

Who's Next is a great album because the Who were at the peak of their powers.

Daughtry's voice was just beginning to sort of reach its maximum sort of range

and power and depth.

Entwistle was a prodigious musical talent anyway.

Moon was at his very best.

Townsend was at his most arrogant, inspirational with his songwriting.

To me,

that's the best group of songs he ever had. There aren't any big misses.

They're some of the best things he ever wrote there.

There are ideas in the songs that are important ideas and that echo before and

after for him.

He is probably the only writer who writes as a Who fan.

That's the background to his writing. He writes as a fan.

And this is one of the amazing things about Pete Townshend. He is a mirror of

his own audience.

We

used

to be one of the guys from the audience on the stage doing it.

And I think, again, that really is down to the kind of songs Pete used to write.

He had a way of communicating with those guys and making them feel that it

was them up there doing it.

The Who were not a band for 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.

All the guys that were standing in the front rows, we could see we were fellas,

right? We always told ourselves that all the females were black, where we

couldn't see it.

They're very tough guys. They very much knew what they wanted to do. They all

had very individual opinions.

They all had their absolute sort of taste in music.

But they were all very open to ideas.

Kit Lambert and Chris Stamper were very valuable to us at the time. I mean, the

group was kind of, people don't realize this, was really six members.

Lambert and Stamper behind the scenes were incredibly valuable to us,

especially to Pete.

Pete's relationship with Kit was one of... They really did feed off

each other.

Kit would spark up ideas in Pete. And then Kit was the only one who could

really communicate to Pete.

what was good and what was bad, and Pete would accept it.

He wouldn't accept anything other than us.

But what he used to do is he used to accentuate the positive.

He just used to find the good stuff. And I'd say, well, what about this? And he'd

say, let's come to that later. He was just brilliant.

Kit and Pete would discuss in detail and long into the night... ...the structure

and what you did and did not put into a sort of pop song.

But what Pete had as a voice was a mod kid.

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 I was in a very strange place.

I had a couple of acid trips and hated it. Everybody else in the world was

wearing funny clothes and blowing their heads off and wearing flares with

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 that's when I started to work on...

Tommy.

I

wasn't

aware of the minefield that I was getting into when I playfully called

this piece that I was working on a rock opera. But Kit Lambert was just

fantastic.

He kind of took me the other way, though. He used to say things like, I'd

say, are you sure it's okay to call this a rock opera? And he'd say, well, yeah,

of 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 stupid story.

And I realised later, actually, that some of his ambitions, of course, were

to usurp the musical establishment. Most of the drive for Tommy was

from Kit Lambert, because his father was a composer, Constant Lambert.

And Kit was always pushing Pete, saying...

But Kip loved pop music and he loved the three-minute single.

But he was determined to make the music of a rock band more important than a

three... He was always saying, this music's much more important than people

realise. It's not just a throwaway thing.

He knew back then that it was going to still survive today.

Tommy finally found out that there's a lot of money coming in and we thought,

whoa, I guess we've made it.

We always had an idea that Tommy was going to mean something.

We liked the album and we knew it was going to be

kind of important, but the audience just started getting bigger and bigger. Every

time we did a tour, we had to play bigger places.

Tommy really kind of, I suppose, set a target for the movie,

and it created an enormous interest. Because it was a rock opera and it had a

new concept about it, it created an awful lot of interest.

And then Townsend...

had another project in mind to follow that, of course, which was the

Lifehouse. How could I make the subject of this new piece, this Lifehouse 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?

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 spoon-fed life, he'll live couch potato

life, he'll live the life that filmmakers, storytellers, advertisers,

you know, political manipulators and...

and 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. It wasn't an idea that I can clearly remember everyone sort of like

thinking, yeah, about.

But at the same time, no one sort of like felt that way about Tommy.

You know, it just began.

So we thought we would begin the process because very much this, this, this,

this, this whole who thing was very much, you know, a group process. You

know, the group, this is how ideas grew. You know, we had to begin.

From there, I think Pete, you know, 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, I think...

From what I can remember, the one idea that I picked up on was the fact that

if we ever do find the meaning of life, it will be a musical note. And I

thought, yeah, that's a great... That in itself is a great idea for some kind of

musical story.

There once was a note, pure and easy, playing so free like a breath rippling

by. That was where the story of Lifehouse was told.

There once was a note...

The note is eternal, I hear it, it sees me. Forever we blend this,

forever we die.

Music in a word.

And what's when you played your guitar?

The noise that I was hearing was a million people cheering and a child flew

past me riding in a star.

As people assemble, civilization is trying to find a new

way to die.

Pete said he was trying to work on a musical which would be kind of

revolutionary and Preach the way to go for everybody 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 working on this musical. I intended to film both live action and

then later to spin in 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 Dick.

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 feed back.

it always worried me that i couldn't grasp fully what the

impact of lifehouse 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 very

complex idea.

And I felt a lot less bad about it when I realized so many other people who were

exceptionally brighter than I was on papers and things couldn't grasp it

either. Was Lifehouse some attempt to try to create utopia and really, you

know, get everybody to live at the Young Vic and have utopia right there on the

ground?

Or...

You know, was it just an excuse to stay up late and do crazy things with all

this great equipment you've got? Or what was it?

Beats me.

From what I understand, 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... I don't know, 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. They had to go home for their tea.

They kind of failed at that point.

I think what happened was that his co-workers did not think it was getting

anywhere.

And so I think Pete lost heart.

When I tried to articulate to people what it was that...

that may happen what was going on it probably sounded very confused and i

think a lot of people were very concerned for me and eventually that

concern turned out to be justified because i did start to come apart at the

scene you know i started to realize there were very few people around me

that that understood what was going on and there was a lack of conviction um

even within the band there was great support for me but there was a lack of

conviction in our ability to make a movie The idea itself wasn't going

anywhere. And we weren't tackling Pete's songs, we weren't tackling the

storyline.

So, Kit's idea, as their producer... ...was to move to the most

sophisticated recording studios... ...to try and record these songs in this new,

very sophisticated way. You know, with, like, 12-track, 16-track, et cetera.

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.

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.

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.

Yeah, I mean, when we finished the recording in New York, which we had to

stop because it turned out that Kit Lambert was doing smack, 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'd certainly never used narcotics.

And I was very worried because it looked to me like Keith was getting involved in

it I was desperately worried that Keith would you know become a junkie and also

New York is you know? It's the hedonistic town right so everyone was

getting more loaded the more halcyon Hallucinogenic days have passed on now

to be more sort of neurotic narcotic days And there's the nightlife of New

York the after-hours bars the clubs that the the sex that the everything. It's

just a little bit more on

...unintimate for sitting down and getting seriously creative as a group of

people. So the recordings didn't really work in the record plan.

So what happened was Pete and the group just felt uncomfortable and went home.

We all had a meeting a few weeks later, the band and the management... ...and

Pete and I, to discuss where to go from there.

And the general consensus was that...

That the 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 I Suggested that that we

should go ahead and make a record of the songs because the songs were safe It was

just amazing and we went into the studio in England I Think it would have been

about May May June

1971 and recorded

the songs for Who's Next.

This is not a loop.

This actually is played.

It actually does make the changes of the song. A lot of people think maybe it's a

loop, but it isn't at all.

The piano comes in in a second, thundering in.

There it is.

I recorded the rest of the band in stereo with the piano, live, and they'll

come thundering in in a second. Mooney will come hurtling in, like a herd of

buffalo. There he is.

Brilliant.

And then Whistle joins with the vocal, with Roger.

John was a lead guitar bass player.

He was one of the first bass players to depart from that... Essentially, as a

musician, he was quite capable of having become a lead guitar player.

He's developed this incredible style of playing.

Pete's live guitar comes in here.

Whose Next had enough of the Lifehouse 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'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 incidentally, it's only ridiculous when I say it. It's not ridiculous at

all when he sings it.

For me, you know, that notion of teenage wasteland, it 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.

Dave Arbus coming up on violin.

I was friendly with Keith Moon, who used to turn up and sit in with the band I

was with, East of Eden.

When they were doing this album, he said, do you fancy coming and playing on

our track? And I said, sure.

And it all went very smoothly.

In the early days, it was impossible doing this stuff live because we had to

play with tapes and Keith had to strap headphones to his head.

Sound-wise, it was incredibly useful to have the extra dimension of the

synthesizer on a tape, but performance-wise, it was incredibly

inhibiting because you could never break away from it.

You had to sit with that tape, otherwise you were stuffed, which we quite often

were.

It used to get quite painful, didn't it, Bob?

You're in the hands of a tape machine now.

Machines go wrong.

And when they go wrong, it doesn't matter whose fault it is, everyone looks

at the person that'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 going to work?

Don't trust machines, they go wrong.

Bob got the blame, got the tape recorder thrown at him many a time.

Especially when the tape broke.

It was fun days.

The whole thing about this album is the two tracks, Barbara O'Reilly and Won't

Get Fooled Again, use a synthesizer in a completely different way than anyone had

ever used one before, where it actually provides a rhythm. I mean, it's not just

a sound, but it's a rhythm as well.

To the best of my knowledge, the first time anybody had used a synthesizer like

this, first of all, nobody I knew anyway knew how to work them.

I mean, they were really difficult to program and get any kind of sound out

of.

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.

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 with this

organ with the EMS synthesizer on the top of it. That was the rig that I used.

And basically what I did is took the output of the organ, put it through a...

um a filter which is what they call it's on sample and hold you get these random

voltages coming out and a voltage sweep just a simple kind of synthesizer um

normal standard sound which a lot of people will be familiar with i suppose i

was just sitting there you know playing this for hour after hour you know i'm

just kind of getting into it really

Very, very simple chords, obviously, you know, almost kind of naively simple, but

on the other hand, you know, the end result is extraordinarily harmonically

complex.

Giving myself the 32 bar then, you know, playing through the chords.

And then I added the acoustic guitar.

I hope.

Pete's demos were always fantastic and were always a challenge... ...because it

was very difficult. 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?

Really, really brilliant demos. Really brilliant.

Obviously, he doesn't play drums like Keith Mooney... ...and he doesn't play

bass like Tom Hanks. So 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 and my style was very very not like keith burns

i mean when i first started to play the drums i used to try to emulate keith but

in the end i thought it you know i don't actually really quite really you know

want to play like that the drums were always very simple the bass was always

very simple uh very sort of bassy and basic no no treble or twang or anything

like that and you basically leave it leave it to the rest of us uh to make

the rest of the song This is the sound of the 70s 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. Before he joined Led Zeppelin, he was a session

player, Joe 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 composer so

played the bass to serve the song. The basic 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 a of an

engineer on their stuff than anything, really. I mean, my job was to record it

as simply and easily and smooth the path as best I could, the actual recording

process as best I could.

And what's interesting here is what happened to the organ.

Remember I'd done a backing track and the organ just suddenly becomes a solo

and I don't really...

There's no edits. It's just me playing, you know turns into this beautiful

little kind of You know something I could never have written on paper

but very very very disciplined

You know with counterpoint in there and you know bits of fugal

stuff just brilliant

I'm just just playing and I'm following the music. I'm not writing it. I'm

following it as I play, you know And of course who fans will know this because

this was the whole centerpiece of the who show with the lasers and I'm Roger

looking like some kind of furry animal

We're already now talking about just an album.

You know, Lifehouse can be forgotten.

I mean, Lin Johnson was just recording a series of songs.

The fact was they 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. And I regretted that Pure and Easy, for example, wasn't on the

record... ...because that was where the story was held.

You know, there once was a note.

Going mobile, I always thought, must have had something to do with the plot.

And that was probably the closest thing to a program number on the whole thing.

It was just like you could sort of see them going off on their magical mystery

tour.

These are the shots of the bus moving by or something.

Going mobile.

Brilliant. Great example of who is a trio.

Daughtry's not on this.

Cut live.

Pete playing acoustic guitar and singing.

And John playing bass. Keith playing drums.

So this that you're hearing now is completely live that no one ever does

yet.

And it's a really brilliant example of the energy of the band, I think.

Moon's just amazing.

Amazing.

And he's playing to an acoustic guitar and a vocal and a bass.

There's Pete's vocal, mate, 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.

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

people's 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 there.

Synthesized guitar solo coming up.

With a wah-wah pedal on it. Here he comes.

Really unusual sound.

Yeah.

I didn't mind the synthesizer. There was a drone in the back.

But I didn't like it taking over as lead instrument when we had this...

what i consider to be one of the best guitarists in the world in the band used

to frustrate me a bit another lead guitar on this originally which he

replaced with that which was i thought was very good but i'm i'm really glad he

came up with the other sound anyway we didn't use that we used it

Who's Next is a record that was totally of its moment. And when a record really

freezes its moment like that, it can survive vast changes in musical style.

The drums would help a little bit. This track, My Wife, really meant the

original Lifehouse. It was a song that I had hanging around, and the band

asked me if I had any songs, and this was the only one I've had left over from

my solo album that I was working on at the time.

When she catches up with me, won't be no time to explain.

She thinks I've been with another woman and that's enough to send her half

insane.

Bought by a fast car, I might let go and take a long, long drive.

And then on the end, we've got your other vocal comes in on the end.

Now, at the moment, there's the back of Pete's guitar.

Feedback.

Now we're double-tracking.

Double-tracking the last part? Yeah.

And then Keith's front there.

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.

You know, there wasn't a drum fill that he did that didn't go dum-bum-dum-bum,

da-da-da-da-da-da-da. I mean, it was all of them, but just different variations

of that played very, very fast.

and sometimes dum-dum-dum and then you fall on the floor.

I think that his image as somebody being a little off the

rails was something he promoted and it actually got him talked about by the

most drummers in any band as a result because he became a personality, this

unpredictability.

But if you talk to Who fans, I think you'll find that they all thought he was

a brilliant drummer.

Obviously, if you talk to musicians, they would agree. They would say the

same thing.

And they would talk about his drumming ability... ...far more than the other

episodes of his life.

A lot of people really, really, really have never understood... ...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

will produce a product.

He took Keith out of it, and it was just like... If we 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.

He'll play along dead rhythm, and then he'll just go... ..in with the vocal,

and it's true genius, what he's doing. It's incredible.

Let's have a listen to this.

Listen to just Keith and the vocal.

And he plays the break pretty straight.

and if i shiver please give me a blanket keep me warm let me wear your coat

hey brilliant you know he was in a sense the the soul

of the band you know he wasn't only this drummer he was this sort of uh wild sort

of genius who beat the drums but he had all this other energy that he was

transmitting that the group needed

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.

Seems they are as empty as my conscience

seems to be I have

hours only lonely My love

is vengeance that's never free

Keep this vocal.

This is all pretty straight R's.

And then this is where it

starts to go.

Behind Blue Eyes, for me, really speaks volumes.

My fist clenches cracking open.

It just all made sense.

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. It was as simple as that.

But obviously it didn't quite work that way in a band and they slung me up for

fighting 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.

There's no choice whatsoever

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 deal

with my pain and my frustration, you know. When I sing it...

In 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.

You know, it's about the perversion of love, about love becoming vengeful.

No one knows what it's like to be the bad man To be

the sad man Behind blue eyes

The songs reflect this striving to

try and to sort of like make more of ourselves, you know to sort of become

More conscious more aware 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, you know, they were part of a bigger message.

Maybe it was a crackpot idea, but it was beautiful... ...and it was powerful, and

it was exciting.

And beauty, power, and excitement... ...if that's not what the rock and roll

dream is, then I didn't understand it at all ever.

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 I just...

If we hadn't have been given the chance to at least be working for this kind of

ethereal project that Pete had in his mind that was going to be this film, it

was going to be this, it was going to be that, we would have just gone in a

studio with demos and just recorded the way all our other albums are recorded.

Whereas this album is a real organic Who album, and it's got much more of what

the Who are really all about, much more of our stage presence, because we knew

the songs well.

As I looked more at Lifehouse, and particularly at Won't Get Fooled Again,

I realized the twist in the plot is this is not utopia, this is dystopia. This

doesn't work, and people are really paying a 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.

That trying to do this stuff had consequences.

That was a new thought back then. It really was, the idea that action had

consequences.

It was sort of supposed to have glorious results, but not consequences.

You 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 the Who's next, you know, it's okay

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. You know, and I think Pete was talking about

the betrayal that happens, you know, in our humanness.

You know, not like a...

political betrayal but the betrayal we make to ourselves won't get fooled again

was not a defiant statement it was a plea it was a plea you know please don't

you 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 you know because i'm just the same as the guy who

was up here before you know you're in charge

Oh, same as the old boss.

You got that.

Back then you could you know it was very crushing to see people that you thought

heroic become less than heroic But

nothing could kill that tree not not right then not yet You

know something could but we didn't even it wasn't going to be internally

generated Some of the statements contained in life house Meet the new

boss same as the old boss teenage wasteland these weren't these were not

ironic statements. You know, they were statements that I will stand by.

I tip my hat to the new constitution.

Take a bow for the new revolution.

Smile and grin at the change all around.

Pick up my guitar and play.

Just like yesterday.

Then I'll get on my knees and pray.

We don't get fooled again.

Change it had to come.

We knew it all along.

We were liberated from the fool that saw.

And the world looks just the same.

History ain't blamed.

Cause the banners were all thrown in the last war.

I tip my hat to the new constitution.

Take a bow for the new revolution Smile and grin at the change all around

Pick up my guitar and play Just like yesterday

Then I'll get on my knees and pray

We don't get fooled again

I move myself and the family aside.

If we happen to be left here forever, I'll get all my papers and I'll smile at

the sky.

But I know that the hypnotized never lie.

There's nothing in the streets that's any different to me.

The slogans are replaced by the by.

The party on the left is now partying on the right.

And it appears to have gone longer overnight.

I tip my hat to the moon.

Just like yesterday.

Then I'll get on my knees and pray.

We don't get fooled We don't get fooled

We don't get fooled again We

don't get fooled again Meet

the

new boss

Just the same as the old boss Meet the new boss Just the

same as the old boss

was very, very positive that he wanted to go back and help me look at the

Lifehouse story again. And we did a new script. This second version of Lifehouse

became about a world in which music was banned, and particularly rock music.

And only the most trite, empty, lightweight music was allowed.

Muzak was allowed.

And joined together was...

a song written to accompany that. And that was much more about music being

banned.

I want you to join together with the band.

We don't move in any particular directions and we don't make no

collections. I want you to join together.

do the job

together together together together

It's the singing of the song that makes the music move along.

I want to join together in band.

Is it the biggest band you'll find?

It's as deep as it is wide.

Come on and join together.

The song is over I'm left with only

tears I must remember

Even if it takes a