All language subtitles for ROLLING STONES - (Classic Albums)

[MUSIC - THE WHO, "WON'T GET
FOOLED AGAIN"]

PETE 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'd--

that I'd worked on ever.

ROGER DALTREY: We
wanted the feeling

that the audience were
as important as the group

to what is coming
out of the music.

And to be fair, I think the
proof is there that actually

that part of it actually worked.

Because the record is
certainly, I think,

the best work we ever made.

CHRIS STAMP: I think
it's a fabulous album.

You 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 as fantastic

as it was intended to be.

Pete's guitar.

Bass.

The madman.

Roger.

(SINGING) We don't
get fooled again.

Don't get fooled again.

The change, it had to
come, we knew it all along.

We were liberated from
the fold, that's all.

The world looks just the same,
and history ain't changed.

Because the banners,
they are flown in--

KEITH 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
range and power of depth.

Entwhistle was a prodigious
musical talent anyway.

Moon was at his very best.

Townshend was at his most
arrogant, inspirational

with his songwriting.

(SINGING) We don't
get fooled again.

Don't get fooled again.

DAVE MARSH: To me, that's
the best group of songs

that he ever had.

Their only big misses,
there are 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.

IRISH JACK: He is probably the
only writer who writes as--

as a Who fan.

That's the background
to his writing.

He writes as a fan.

And this is--

I mean, this is one
of the amazing things

about Pete Townshend.

He is a mirror of
his own audience.

[MUSIC - THE WHO, "I CAN'T
EXPLAIN"]

(SINGING) Got a feeling
inside, can't explain.

Certain kind, can't explain.

ROGER DALTREY: 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 out there doing it.

IRISH JACK: 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.

JOHN ENTWHISTLE: One
of the guys that were

standing in the front row--

all we could see
were fellas, right?

We always told
ourselves that all

the females were at the
back where we couldn't see.

CHRIS STAMP: They were
very tough guys, you know.

They very much knew
what they wanted to do,

they all had like very
individual opinions.

They all had their absolute
sort of taste in music.

But they were all very, you
know, open, you know, to ideas.

ROGER DALTREY: Kit
Lambert and Chris Stamp

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 Stamp
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 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 off of us.

PETE TOWNSHEND: 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 said, let's
come to that later.

He was just brilliant.

[MUSIC - THE WHO, "MY
GENERATION"]

(SINGING) People
try to put us down--

Talking about my generation--

Just because we get around.

Talking about my generation.

Things they do look awful cold--

Talking about my generation.

I hope I die before I get old.

Talking about my generation.

CHRIS STAMP: Kit and Pete would
discuss in detail and long

into the night the structure
and what you did and did

not put into a pop song.

But what Pete had
as a voice was--

was a mod kid.

PETE 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
I was in a very strange place.

I'd-- I had a couple
of acid 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
I could try to do

is to marry the pop
single with this idea

of this mystical journey.

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

[MUSIC - THE WHO, "TOMMY
CAN YOU HEAR ME?"]

(SINGING) Tommy
can you hear me?

Can you feel me near you?

Tommy can you see me?

Can I help to cheer you?

Ooh, Tommy, Tommy.

PETE 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
things like I'd say,

are you sure it's OK to
call this a rock opera?

And he'd go, he'd say,
well, yeah of course it is.

And I'd say, well, the story's
a bit dodgy at the moment.

He'd go, yeah, but all
opera's got stupid story.

And I realized 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

the composer Constant Lambert.

And Kit was always pushing
Pete's [inaudible]..

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 than a
three-- he was always saying,

this music's much more
important than people realize.

It's not just a throwaway thing.

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

[MUSIC - THE WHO, "PINBALL
WIZARD"]

(SINGING) Ever since
I was a young boy,

I played the silver ball.

From Soho down to Brighton,
I must have played them all.

But I ain't seen nothing like
him in any amusement hall.

That deaf, dumb, and blind
kid sure plays a mean pinball.

JOHN ENTWHISTLE: Tommy-- we
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.

You know, we'd liked the
album, and we knew it was

going to be kind of important.

But the audiences just starting
getting bigger and bigger.

You know, every
time we did a tour,

we'd have to play bigger places.

KEITH ALTHAM: Tommy
really kind of,

I suppose, set a target
for the Who, and it created

an enormous interest not
because it was a rock opera

and it had 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 Lifehouse.

PETE TOWNSHEND: How
could I make my--

my-- 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, you 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 will be in the suit,
and he won't live real life,

he'll live pretend life.

He'll live spoon-fed life.

He will live-- 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.

CHRIS STAMP: It wasn't
an idea that I--

you know, can clearly
remember everyone sort of,

like, thinking yeah about.

But at the same time, no
one-- no one-- sort of

felt that way about Tommy.

You know, it just began.

So we thought we would
begin the process

because 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-- we had to begin.

ROGER DALTREY: 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--

that in itself is a great idea
for some kind of musical story.

PETE TOWNSHEND: 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.

(SINGING) There once was a note
pure and easy, playing so free

like a breath rippling by.

The note is eternal.

I hear it, it sees me.

Forever we blend
as forever we die.

I listened and I heard
music in a word, and words

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

at working on this musical.

PETE TOWNSHEND: I intended
to film both live action,

and then later to spin in,
you 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.

This was the first time we
had the chance to sit in a room

or in a theater, 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.

[music - the who, "bargain"]

(SINGING) I call that a
bargain, the best I ever had.

The best I ever had.

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 like I
should make an effort

to understand and comprehend
this very complex idea.

And I thought 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--

with this--

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 is supposed

to be there on vid with us.

Wow, 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,

the [inaudible] hope
for the [inaudible]..

It kind of fouled at that point.

I think what happened was
that his coworkers 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 seams.

You know, I started to
realize that there were very

few people around me that--

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.

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 tracks, 16

track, and 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.

[MUSIC - THE WHO, "GETTING IN
TUNE"]

(SINGING) I'm singing this
note because it fits in well

with the chords I'm playing.

I can't pretend there's any
meaning here or 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 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 I-- you
know, when we finished--

when we finished the
recording in New York,

which we had to stop
because it turned out that

Kit Lambert was doing smack.

And-- 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 had

certainly never used narcotics.

So I-- and I was very
worried, because it

looked to me like Keith
was get 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 night
life of New York,

the after hours bars, the
clubs, the sex, the everything.

It's just a little
bit more un-intimate

for sitting down and
getting seriously,

you 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.

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 the movie

script wasn't as forthcoming--

I mean, no one really got it.

No one quite understood it
like Pete did, I didn't think.

And I suggested that-- that
we should go ahead and make

a record of the songs,
because the songs they

sang for it were 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.

[MUSIC - THE WHO, "BABA
O'RILEY"]

This is not a loop.

This-- this actually
is-- 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 it 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.

And they'll come
thundering in in a second.

Moon will come hurtling
in like a herd of buffalo.

There he is.

Brilliant.

And then it sort of joins
with the vocal, with Roger.

PETE TOWNSHEND: John was
a lead guitar bass player.

You know, he was one of
the first bass players

to depart from that boom, boom,
boom boom boom boom boom boom.

Essentially, as a musician,
he was quite capable, having

become a lead guitar player.

He's developed this
incredible style of playing.

(SINGING) I get my
back into my living.

I don't need to be forgiven.

Pete's live guitar
comes in here.

(SINGING) Don't cry,
don't raise your eye.

It's only teenage wasteland.

Sally, take my hand, we'll
travel south cross land.

Put out the fire and don't
look past my shoulder.

Who's Next had enough of the
Lifehouse ideas that if you had

been a Who fan enough
to have followed

with Pete had been claiming he
was trying to do, that you'd--

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've come from
that project, right?

And-- and incidentally, it's
only ridiculous when I say it.

It's not ridiculous at
all when he sings it.

(SINGING) It's only
teenage wasteland.

Teenage wasteland, oh yeah,
it's only teenage wasteland.

They're all wasted!

For me, you 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 this 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.

Used to be-- 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.

ROGER DALTREY: In
the early days it

is 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.

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.

The night before I'm
looking at it thinking,

are you going to work?

I 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, fun days.

The whole thing
about this album

is the two tracks "Baba O'Riley"
and "Won't Get Fooled Again"

used the 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,
it's 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.

BOB PRIDDEN: When I did the
sound for "Won't Get Fooled

Again," I didn't have this bit.

This was a bit I got
during the demos.

And 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
took the output of the organ,

put it through a filter
which is what they

call a sort of sample and hold.

You get these random voltages
coming out in a voltage sweep,

just a simple kind
of synthesizer,

a normal standard sound
which a lot of people

will be familiar with.

I suppose I was just sitting
there playing this for hour

after hour, you know, just kind
of getting into it, really.

Very, very simple
chords, obviously.

You know, it was kind
of naively simple.

But on the other hand, the
end result is extraordinarily

harmonically complex.

Giving myself a 32 bar, then
playing through the chords.

And then I-- I did
the acoustic guitar.

I hope.

(SINGING) And the morals
that they worship will be gone.

The men who spurred us on sit
in judgement of all wrong.

they decide and the
shotgun sings the song.

Pete's [inaudible]
were always fantastic

and were always a challenge.

Because it was very different--

I mean, very often I've
listened to the song we were

about to cut like,
how the hell am

I going to compete with that?

Really, really,
brilliant things.

Really brilliant.

Obviously doesn't play
drums like Keith Moon

and he doesn't play bass
like John Entwhistle.

So by the time the band
got hold of anything,

it became The Who
instantly because

of the way those two play.

They took his stuff and
did their thing to it.

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.

In the end I felt,
fuck it, you know,

I don't actually really quite
really want to play like that.

The drums were
always very simple,

the bass was always
very simple, very

sort of bassy and basic,
no treble or twang on it,

anything like that.

And he'd basically leave
it to the rest of us

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 with
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 particularly
to early Walker brothers

records and things
like that, you

hear this incredible clean,
tight sound, which I suppose

would 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 surface.

The basic arrangements,
and sound ideas,

and whatever else came
from Pete's [inaudible]

and the feel, pretty much.

So it made my job
particularly easy.

I mean, I was much more of
an engineer on their stuff

than anything, really.

I mean, my job was--

was to record it as simply,
and easily, and smooth

a path as best I could.

But actual recording
process as best I could.

And what's interesting here
is what happens in the organ.

Remember I've done
a backing track,

and the organ just
suddenly becomes a solo.

There's no edits,
it's just me playing.

You know, turns into this
beautiful little kind of--

and that's something I could
never have written on paper.

But very, very,
very disciplined.

Here with the counterpoint
in there, and you know,

bits of fugal stuff.

Just brilliant.

And I'm 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 would
know this, because this was

the whole centerpiece of the
Who show with the lasers,

and Roger looking like
some kind of furry animal.

CHRIS STAMP: We were already
now talking about just an album.

You know, Lifehouse
can be forgotten.

I mean, Linzon has just--

John's just recorded
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.

You know, and that was probably
the closest thing to a program

number on the whole
thing, you know,

it was just like you could
sort of see them going off

on the Magical Mystery Tour.

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

"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,
Keith playing drums.

So this that you're hearing
now now is completely live,

there's no overdubs yet.

And it's a-- 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 mic, actually.

You can just hear the--
the acoustic guitar in it.

There's the acoustic guitar.

Here's John.

Everyone.

Brass synthesizer,
overdubbed by Pete later.

Just a bit of color.

PETE TOWNSHEND: The
story as it unfolded

was about the 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 have got
this lust for life,

and adventure, and color.

We're told, well actually,
the best way to go to Bali

is to just get into your
suit, we'll take you.

(SINGING) Keep
me moving over 50.

Keep me grooving--

Synthesized guitar
solo coming up with

a-- with a wah-wah pedal on it.

Here he comes.

Really unusual sound.

Yeah.

I didn't mind the
synthesizers drone in the back,

but I didn't like it taking over
as lead instrument when we had

this-- what I considered to
be one of the best guitarists

in the world in the band.

Used to frustrate me a bit.

There are no
lead guitar on this

originally, which he replaced
with that, which was--

I don't know, I
thought was very good.

But I'm-- I'm really glad he
came out with the other sound.

Anyway, we didn't use
that, we used this.

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.

[music - the who, "my wife"]

(SINGING) My
life's in jeopardy,

murdered in cold blood
is what I'm gonna be.

I ain't been home
since Friday night

and now my wife is
coming after me.

Give me police protection,
going to buy a gun

so I can look after number one.

This track, My
Wife, what it really

meant for 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'd had

left over from my
solo album that I

was working on at the time.

(SINGING) Gonna buy a
tank and an aeroplane.

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.

Gonna buy a fast car,
put on my lead boots

and take a long, long drive.

Brass.

And then on the end,
we got your other vocal

comes in on the end.

And now at the
moment, [inaudible]

get Pete's guitar feedback.

Now we're double tracked.

(SINGING)
--catches up with me,

won't be no time to explain.

Double tracks
on the last verse?

Yeah.

(SINGING) --with another
woman, and that's enough

to send her half insane.

Gonna buy a fast car,
put on my lead boots

And then Keith's
drum [inaudible] now.

He sounds like he
was double tracking.

PETE 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 humor.

A lot of what Keith did
was incredibly funny.

You know, there
wasn't a drum fill

that he did that didn't go--

[drum beat]

I mean, it was all--
that was all of them,

but just different variations
of that played very, very fast.

You know, sometimes [drum beat]
and then you fall on the floor.

GLYN JOHNS: I think that-- that
his-- his image as somebody

being a little off the rails
was something he promoted.

And it actually got him
talked about the most drummers

in any band as a result,
because he became a personality

with some predictability.

But if you talk to Who
fans, I think you'll find

that they all thought he was--

he was a brilliant drummer.

And then 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 would produce a product.

You took Keith out of it,
and it was just like--

JOHN ENTWHISTLE: 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'd play along dead
rhythm, and then he'd just go

[drum beat] in with the
vocal, and it's-- 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.

[MUSIC - THE WHO, "BEHIND BLUE
EYES"]

(SINGING) When my fist
clenches, crack it open,

before I use it
and lose my cool.

When I smile, tell me some
bad news before I laugh

and act like a fool.

And he plays the
break pretty straight.

(SINGING) If I
swallow anything evil,

put your fingers down my throat.

And if I shiver, please
give me a blanket.

Keep me warm, let
me wear your coat.

Brilliant.

CHRIS STAMP: 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 wild sort
of genius who beat the drums.

But he had all this other
energy that he was transmitting

that the group needed.

Hey!

Ow!

[MUSIC - THE WHO, "BEHIND BLUE
EYES"]

(SINGING) No one
knows what it's

like to be the bad man, to be
the sad man behind blue eyes.

No one knows what it's like--

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's really-- he
really identified,

I think, with the songs
particularly well.

(SINGING) But my
dreams, they aren't

as empty as my
conscience seems to be.

I have hours only
lonely, my love

is vengeance that's never free.

I'll keep this vocal.

(SINGING) What can I
do, dabbling in you.

This is all pretty straight as.

(SINGING) No one bites back
as hard on their anger,

none of my pain and
woe can show through.

Then this is where
it starts to go--

(SINGING) But my
dreams, they aren't

as empty as my
conscience seems to be.

ROGER DALTREY: Behind Blue Eyes,
for me, really speaks volumes,

you know.

When my fist clenches,
crack it open.

You know, it just
all made sense.

That's the only
way we used to deal

with anything from the part
of England that I grew up.

Everything was
solved with a fight.

Whoever won the fight,
that's way you win.

Simple as that.

But obviously, it didn't
quite work that way in a band.

And they slung me
up, the 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.

that's not a choice whatsoever.

(SINGING) When my fist
clenches, crack it open,

before I use it
and lose my cool.

When I smile, tell me some
bad news before I laugh

and act like a fool.

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 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.

(SINGING) If I
swallow anything evil,

put your finger down my throat.

And if I shiver, won't you
give me a blanket, keep me warm

and let me wear your coat.

Oh, yeah.

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

the sad man, behind blue eyes.

CHRIS STAMP: The songs
reflect this striving,

to trying 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 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--

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 got away.

It just felt so--

it felt to me like it was
such a fantastic idea that it

just escaped me somehow.

If we hadn't not been given
the chance to at least be

working for this kind
of ethereal project

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

it was going to be this, it was
going to be that, we would have

just gone in the
studio with demos

and just recorded the way
other albums were recorded.

Whereas this album is a
real, organic Who album,

and it's got much more of what
the Who really all about, much

more of our stage presence.

Because we love-- we
knew the songs well.

[MUSIC, THE WHO - "WON'T GET
FOOLED AGAIN"]

(SINGING) And the
men who spurred us on

sit in judgement of all wrong.

They decide and the
shotgun sings the song.

KEITH ALTHAM: As I
look 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, you know,

action had consequences.

People-- 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 Who's Next,

you know, it's 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.

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 made 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 concept,

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.

[MUSIC, THE WHO - "WON'T GET
FOOLED AGAIN"]

(SINGING) Meet the new
boss, same as the old boss.