1965 – The Newcastle Evening Chronicle reviews “Anyway, Anyhow, Anywhere” saying “it has enough raw energy to replace a nuclear power station.”
Transcript:
RAW ENERGY
The Who (how I wish they’d chosen another name) seem determined to stick their collective necks out. This London-based group which has been hitting the high spots with “I Can’t Explain” has come up with a platter which they rather defiantly say is the first pop-art record.
It’s called “Anyway, Anyhow, Anywhere”—and no matter what you call it, it has enough raw energy to replace a nuclear power station.
“If this disc is a flop,” they say “we’re going to make another just like it, only harder hitting—and then another!”
Believe it or not, this song was written by Roger Daltrey and lead guitarist Pete Townshend in a morning. The other two Who, bass guitarist John Brown and drummer Keith Moon, heard it for the first time in the afternoon. In the evening they cut the disc!
It’s released by Brunswick, serial 05935.
—Charles Fiske
1965 – The Who play the Astoria Ballroom in Rawtenstall
1965 – An article on The Who appears in Record Mirror featuring short and angry quotes from Pete and Keith. Pete: “This thing about smashing amplifiers; well, if we’ve got a particularly thick audience out in the sticks we do it but sometimes we take the thing down a bit.” Keith: “We had to do something [‘Anyway Anyhow Anywhere’] that would get away from all the rubbish that people are buying.
Transcript:
THE WHO’S POP-ART DISC
by RICHARD GREEN
POP art has never caught on with the kids simply because it didn’t mean anything to them—and it isn’t pop in the musical sense. But add rhythms, words and the Who and you may well have the start of a big new thing.
The Who have hardly ever been restrained. Anything they have wanted to do, they’ve almost always done. On stage, mainly.
“This thing about smashing amplifiers, well if we’ve got a particularly thick audience out in the sticks, we do it, but sometimes we take the thing down a bit,” said Pete Townshend who is responsible for the sadistic streak in the group.
Now the whole attitude of the Who as regards pop music has come out on “Anytime Anyhow Anywhere” which Decca releases tomorrow (Friday). Quite a bold step for a record company to take.
“The whole pop scene is half-baked,” Keith Moon stated. “People like Val Doonican and Ronnie Hilton, that sort of thing. We wanted to do something completely different.”
NOT SO MAD
They did “I Can’t Explain” months and months ago when they weren’t so mad on stage. They would not have taken the risk of their new record at that time.
“We weren’t known and we couldn’t have done it. It was more typical of us then than it is now,” Keith explained. “We had to do something that would get away from all the rubbish that people are buying. That’s why we did this one.”
Disc jockey Tony Hall described the Who’s record as “the most commercial uncommercial record” and “the record people will love to hate.”
I got an acetate over two weeks ago and have been playing it ever since to various people. Quite a lot hate it, saying it is a load of muddled-up noises. But even more rate it.
For those people who have led sheltered lives in Stoke Poges or who rate “the King” above all else, then the Who’s record will be regarded as utter nonsense.
But to those who are willing to accept this as a means of getting away from the stale pop scene that is with us at the moment, it is very good.
Pete ordered an apple strudel and ham sandwich (which he rapidly changed to apple strudel and ice cream) and then told me: “If this record doesn’t get in the charts, we’re going to slam it up with another.”
DARING
“We’re not giving it as long as ‘I Can’t Explain.’ And we won’t go back to the other style for our next record, either, we’ll do two or three more this way.”
It takes a certain amount of daring to get up on stage and do the things that the Who’s do. They are, in a way, doing the sort of thing that most of their audience would do if only they had the courage.
An important point is that when the Who come off stage, they don’t immediately change their personalities and behaviour. They’re naturally that way. Other people will decide whether that’s a good or bad thing.
But whatever the fate of their new record, the Who have to be congratulated for going ahead with their plans to record it. If they succeed in drawing enough attention to their attitude, then it’ll be a big hit.
If they don’t, we’ll be stuck with wish-wash that has been around far too long. That will mean that anyone will be able to come along, copy a trend or a safe bet and get a hit record. No originality is involved there.
“We don’t get on with a lot of groups because of our attitude,” said Keith finally. “If they don’t like us, that’s too bad.”
Photo caption: THE WHO — weirdly named group whose new disc is even weirder. This pic was taken in Soho’s Great Windmill Street.
1971 – Chris Charlesworth pens an article in Melody Maker about the stereo system in Keith’s Rolls Royce. This issue also contains a review of John’s Smash Your Head Against the Wall album
Transcript:
Moon’s mobile music
IN AMERICA a tape player — either 8-track or cassette — is just about standard in cars coming off the production line — and before long British motorists will be playing their favourite albums in traffic jams instead of relying on a radio to kill the boredom of today’s crowded roads.
The quality of tape players in a car is so far above that of a radio that it will only be a matter of time before tapes are standard equipment in everything from a Rolls-Royce to a mini.
The bigger the car, the better the sound. Consequently old Keith Moon’s lime Rolls Royce Silver Cloud is a dream for a 4-track enthusiast. Six speakers built into both front and back doors and the rear parcel shelf belt out music to order while the white tornado drummer practises his paradiddles on the dashboard.
“I had a cassette player put into my car three years ago, but since then I have changed to an 8-track machine which I now prefer,” says Keith. “With the cassette system, the tapes are very thin and consequently likely to have a shorter life than with 8-tracks. They could stretch easier and there is more chance of one track superimposing onto the other.
“The player I have is a new Toshiba Japanese model, which costs about £85. It’s the latest model they make and incorporates a fast-forward wind mechanism, the only machine in England to do so. This means you can skip numbers if you want to play only one particular track.
“I also have a portable tape player which can be used on a battery or off the mains. It works in the car as well, plugging into the cigar lighter attachment.
“A car’s case in the country which holds about 24 tapes. One disadvantage of the 8-track cartridge over the cassette system is that they are much larger and you can carry appreciably more cassettes than cartridges because they are three or four times smaller. It depends on how far I am going as to how many I carry around. Usually when I buy an album I buy a tape of it as well.”
Keith, like many others, holds the view that before long tapes will take over completely from records.
“A record is too delicate, especially at a party and my house is a continual party,” he says. “You can drop a tape, leave a cigarette on it and it won’t damage it much. But try that with a record and you will ruin it.
“There are a lot of faults in the tape system, but I still think it will take over eventually. Once the system is perfected it will be better. Tapes are somewhat expensive at the moment, but sooner or later they will find an economical method of making them and bring the equipment within the reach of everybody. The advantages of tapes far outweigh the disadvantages.
“You can take a tape anywhere — like in a car, and you can’t play your albums in cars.”
For economy Keith recommends buying an 8-track recorder as well as player which, although initially more expensive, will save money in the long run through making one’s own cartridges. “If I was buying my first 8-track player now, I would buy albums and records to buy. Then I could alter the treble and bass according to my own tastes.” — CHRIS CHARLESWORTH.
Photo caption: KEITH MOON: 8-track in his Rolls
1971 – Peter Gidal’s film “Heads” is screened at the National Film Theatre in London. The 34-minute silent movie shot in 1969 consists of head shots of famous people, including Pete
1972 – “Join Together With The Band” is recorded. Coming in at around seven minutes and ending with a long, blistering electric guitar performance by Pete, the track will have its title and it length shortened for later single release
1974 – The Who perform a formal concert at Portsmouth Guildhall for the students that put up with the filming of Tommy. Backstage The Who sign the contracts that terminate their management by Kit Lambert and Chris Stamp, turning the band over to Roger’s personal manager Bill Curbishley. They also sign a deal with Polydor Records to release future Who albums outside the U.S., leaving Lambert & Stamp’s Track Records. Pete is drinking heavily and suffers an alcohol-induced blackout about the show and the contract signings
1976 – The Who play the Parc des Expositions in Colmar, France
Its The Who in France, so go visit Les Who en France!
1999 – The John Entwistle Band plays at a private function at the Marriott Marquee in Atlanta for the Association For Independent Music convention. Who fan Shanon Dell attends and films the show.
2004 – The Who play Madison Square Garden in New York, New York
2007 – The Who play the National Indoor Arena in Birmingham
2012 – The cast of the TV show Glee release their CD Glee Season Three featuring a cover of “Pinball Wizard” using the Elton John arrangement. You can watch “Pinball Wizard” from Glee here
2015 – The Who play Boardwalk Hall in Atlantic City, New Jersey
2016 – The Who play the Honda Center in Anaheim, California
2020 – The Associated Press publishes an interview with Roger about “Teen Cancer America” and The Who’s future