pete townshend save it for later studio version download The Who's Pete Townshend: Child porn arrest saved my life. The Who's Pete Townshend has said his child abuse pics arrest saved his life — as it led him to discover he had bowel cancer. Guitarist Townshend, 74, admitted using his credit card to access a sick website in 2003, although he downloaded no images. He was given a police caution and put on the Sex Offenders Register for five years — claiming he was only trying to prove banks were complicit with vile online pedophile networks. He told the Mail On Sunday: "Just for the record, my arrest was probably one of the best things that ever happened to me. It probably saved my life." Townshend explained that he had been putting off having a bowel cancer check until cops raided his home. He added: “While I was waiting for the police to go through my computers I decided to have that long-postponed colonoscopy. The doctor showed me the polyp. He said ‘this would have killed you in six months’. So it sort of saved my life.” Pete Townshend from The Who arrives at JFK Airport on Aug. 29, 2019 in New York City. Townshend says his child pornography arrest led to his colon cancer diagnosis, which saved his life. (Getty) Townshend, who survived abuse as a child, said the stigma of his brush with the law still haunts him. He added: “It’s something I think about a lot. I’m very much involved in supporting charities that deal with the consequences of the sexual abuse of children, including those that are photographed. So no, I don’t think it has passed.” Townshend and Who frontman Roger Daltrey, 75, are the only surviving founders of the 60s superstar group. Drummer Keith Moon died of a drug overdose in 1978 aged 32 and bassist John Entwistle had a fatal heart attack in 2002 aged 57. Inside Pete Townshend’s Studio Barge. Built inside a 100-year-old Dutch barge, Grand Cru Studio is an unusual recording studio, to say the least. First built in the 1970s as Oceanic Studios, commissioned by The Who’s Pete Townshend as part of his Eel Pie Studios, the 110-foot vessel is now a fully commercial facility, complete with an SSL AWS 948 hybrid console. London, UK (February 22, 2016)—Built inside a 100-year-old Dutch barge, Grand Cru Studio is an unusual recording studio, to say the least. First built in the 1970s as Oceanic Studios, commissioned by The Who’s Pete Townshend as part of his Eel Pie Studios, the 110-foot vessel is now a fully commercial facility, complete with an SSL AWS 948 hybrid console. Over the last five years, it has been brought back to its former glory and equipped to deal with a flurry of Townshend projects, including the Classic Quadrophenia project. At the helm is Myles Clarke, an engineer and producer who has worked closely with Townshend over many years. “I am running this as a traditional commercial studio,” he says. “…A production space for hire. When you arrive, the desk is zeroed; everything is clean and tidy. I want it to be like the studios I assisted in and learned in—a fresh blank canvas for producers and engineers to come and do their thing in. I’ve been to lots of so-called commercial studios that are actually very much a Producer’s own studio—things are broken or labelled badly, and so on… I’ve spent the last few months making sure that this place is perfect.” The studio includes a large control room, plus live area and smaller machine room/booth. The rooms remain true to the original Keith Slaughter designs (Abbey Road, Ridge Farm, Air), even though some of it had to be reinstated: “When I came to the studio, lots of the bolt-on wooden panels had been removed and it sounded awful” Clarke explains. “Pete remembered the panels. We actually found them all in a warehouse, covered in dust, so we cleaned them off and screwed them into exactly the same spots. We knew which went where because the screw holes lined up. Suddenly it diffused the room, stopped some of the standing waves… It was just like magic.” The studio has been gradually re-equipped over the last five years, but “The SSL is the thing that brings it all together,” says Clarke. “The SuperAnalogue Mix Bus sounds great, just amazing, and the compressor is clean and transparent. The way it’s set out, the way that it sounds— you just know you can push a bit more, cut a bit more, and you can do that dramatically. Pete’s always talked about shaping the sounds on an SSL and I agree; you can really ‘build’ a sound with an SSL.” Even though the AWS 948 is a 48 channel console with full 5.1 monitoring, it has a footprint of less than 1.5 meters wide. This suits Grand Cru well, giving a high input count without taking up too much space. “If I had a 48-channel console with a 48-channel footprint, people would struggle to get past it,” notes Clarke. “The AWS has a very suitable footprint for this kind of studio.” Subscribe. For more stories like this, and to keep up to date with all our market leading news, features and analysis, sign up to our newsletter here. The Legendary Pete Townshend of The Who Gives a Tour of ‘Grand Cru’, His Recording Studio on a Barge. In January 2019, the legendary Pete Townshend of The Who began recording a vlog in order keep everyone in the loop about what’s happening with the band, what’s being recorded and where it’s being recorded. In one such entry, a surprisingly gregarious Townshend offered a personal tour of Grand Cru Studios, a fantastic recording studio located on a barge docked near Tower Bridge in London. 31 January 2019. Track preparation for the new Who album on Grand Cru, Pete Townshend’s recording studio in St Katherine’s Dock, London. Recording sessions for new Who album at British Grove Studios. Pete Townshend booked into British Grove Studios in Chiswick, West London last week for recording sessions on the upcoming Who album. Pete brought in US record producer Dave Sardy, who previously worked with Oasis, and his engineer Jim Monti, to help record additional instruments on songs that he recorded last summer in his personal studios. Pete's engineer Myles Clarke also helped out with the computer sessions that were worked on. The studio work began last Saturday, 2nd February, and wrapped up yesterday. They made great progress on the album, and were able to complete seven songs in seven days. The work focused primarily on recording drums, percussion, and bass tracks with Zak Starkey and Pino Palladino. Pete also layed down parts with his Gibson J200 acoustic guitar, bass harmonica on a song called Detour, and a tamarind seed pod shaker, an exotic percussion instrument from Antigua. Roger Daltrey did not attend any of the sessions, as he was away on holiday and also preparing for the Rock Legends Cruise from Florida which runs February 14 – 18. Hopefully he will be available to record his vocal tracks soon after he returns to England. Pete Townshend has been very active on social media lately, and documented the recording week with a series of blogs, Youtube videos, and Instagram posts. It has been great fun to follow all the activity! Pete also posted blogs about recording a Spanish-style song with guitarist Gordon Giltrap, and meeting with artist Peter Blake, who will be doing artwork for the Who album cover. Peter Blake is famous for his album covers of The Beatles Sgt. Pepper and The Who Face Dances. The Who's new album will be released on Polydor in the UK and Interscope in the US. No word yet on when it will come out, but they are hoping to finish by this summer. This is all very exciting news! Hopefully The Who will perform some of the new tunes on their upcoming tour! Photo credit: John Davisson. Pete discussed the album with Andy Greene in a recent podcast for Rolling Stone Music Now. Here are a few excerpts from that conversation. The songs are quite a potpourri of stuff. It’s got a couple of songs that are quite Who-ish, I hope. Clichéd Whoie kind of thing that start with guitars that go yaggerdang! They are very good demos. I’ve got 5 recording studios in my life, and I use them all the time so that they are very high quality. All Roger has to do is sing. We’ll have to tweak a few things. Zak is going to help me with percussion. It doesn’t mean he’ll play the drums on them, but if he wants to play the drums he certainly can. He’s basically gonna help me with the beats. My brother Simon will help with shaping and arranging. And then we may hand everything over when Roger’s done his vocals and I’ve done my vocals, if that's what I'm going to do on any of the songs, to a remix engineer. And I’ve got no idea when it’s going to come out. Roger's away now until the beginning of March, so there's no time really for him to do vocals early this year. I have produced the demos so far. What happened with Endless Wire was I ended up as a kind of virtual producer because I took the recordings that I made for myself and just added The Who to them. I don’t think [the sound of the new songs] are necessarily that much different from Endless Wire. There are a few dark ballads, there are some experimental electronica, there is some heavy rock stuff, some sampled stuff. I knew I only had 3 months, and I don’t work particularly fast because I have to play everything myself. And I also wanted to enjoy it. It was a great summer here. I got my big studio finished. I built a studio in a barn near my country house in May. So I started in June, and did June, July, and August, then just finished in the first week of September. I delivered in the first week of September those 15 songs. I don’t know what will appear on the album. I’m certainly open to writing new material as well. A lot depends on the release date. I’d like to get it out early. I’d like it to be out when we’re touring. It would be nice to be able to play a couple of songs. There are two songs that I’ve worked on other projects which I pulled in sideways, but no, there’s nothing else, it’s all new material. And I wanted it to be new material, I wanted it to cover where I stand at the moment. It will definitely come out this year. I think Polydor, who are our UK company, would like it in June or July. The clock is ticking, but it’s possible. We used to make albums in much shorter periods, and it’s always a rush in the end anyway. It’s just how important it feels to have the music out. I am happy to commit to doing the tour knowing that there’s new music coming out, because that’s for my sense of pride, my sense of self worth, my sense of dignity, as a writer where I am now with what I do, everything that I do. You know in the last 20 years I’ve learned so much about music and my craft, and how I work I’ve grown up a huge amount. My writing is exceptionally good. One of the difficulties I’ve had about putting solo stuff out is that I’ve always been incredibly ambitious. So I’ve always wanted to do kind of grande magnum opuses, and often fallen at the last gate. Whether because I’ve run out of money, or run out of time, or needed to go on tour and lost momentum, or whatever. But I think in this particular case what I really wanted to do was write new material, and that’s what I did. Pete Townshend solo catalogue is now available in digital formats. Pete Townshend's solo catalogue has been released this week in digital formats, and is now available for download and streaming from various digital distributors, including iTunes and Spotify. Later in the year, the albums will be remastered and released on CD. The reissue programme is still in the planning stages, so what bonus material will be included and what other formats these will be available in are still to be decided. The following is the official press release. PETE TOWNSHEND SOLO CATALOGUE REISSUED 11 ALBUMS RELEASED ACROSS DIGITAL FORMATS 23rd FEBRUARY 2015. Who Came First, Rough Mix, Empty Glass, All The Best Cowboys Have Chinese Eyes, White City, Iron Man: The Musical, Psychoderelict, Scoop, Another Scoop, Scoop 3 and Deep End Live. 23rd February sees the digital release of 11 of Pete Townshend’s solo albums digitally as part of a new deal with UMC / Universal Music. An extensive reissue programme for Townshend’s solo material that will see the catalogue remastered and reworked is planned to start later this year and will run into 2016. The 11 digital album releases cover Who Came First, his collaboration with The Faces’ Ronnie Lane Rough Mix, his musical version of Ted Hughes’s The Iron Man, his collections of demos Scoop, Another Scoop and Scoop 3 as well as the albums Empty Glass, All The Best Cowboys Have Chinese Eyes, White City, Psychoderelict and the live album Deep End Live featuring David Gilmour. Who Came First. This 1972 release was the first release by Pete Townshend outside of The Who. The album is a collection of music dedicated to Meher Baba, Townshend’s spiritual master. The resultant album exposes Townshend’s spiritual enlightenment and sees him perform with fellow Baba followers, including Ronnie Lane and Billy Nicholls. The album includes Townshend’s versions of Who Classics ‘Let’s See Action’ and the sublime opener ‘Pure and Easy’ as well as cover versions of songs, which were Baba favourites. Rough Mix. For Pete Townshend’s second album away from The Who he teamed up with ex Small Faces / Faces bassist Ronnie Lane for ‘Rough Mix’. A veritable A-list of musician friends, including Eric Clapton, John Entwistle and Charlie Watts, were drafted in to provide backup. The album featured new material written by Townshend and Lane. The album features the sublime ‘Heart To Hang Onto’ which Townshend performed at the Ronnie Lane Tribute Concert at the Royal Albert Hall in 2004. Empty Glass. Considered by Pete Townshend to be his first ‘real’ solo album ‘Empty Glass’ was also to become his most commercially successful. Coming after Keith Moon’s death the album sees Townshend at his most emotional and rawest as he publicly acknowledges his own addictions and exorcises his demons. The album spawned three singles including the top ten US smash ‘Let My Love Open The Door’ as well as ‘Rough Boys’, ‘Empty Glass’ and ‘A Little Is Enough’. All The Best Cowboys Have Chinese Eyes. Released in 1982 the album contains the singles ‘Face Dances pt 2’ and ‘Uniforms (Corps D’Espirit)’ and a companion promotional video featuring seven of the tracks was made for the fledgling MTV Network. Describing the unusual title Townshend said ‘it’s about the fact that you can't hide what you're really like. I just had this image of the average American hero – somebody like a Clint Eastwood or a John Wayne who was basically capable of anything – you know, any kind of murderous act or whatever to get what was required – to get, let's say, his people to safety. And yet, to those people he's saving, he's a great hero, a knight in shining armor – forget the fact that he cut off fifty people's heads to get them home safely. If you're really a good person, you can't hide it by acting bad; and if you're a bad person, you can't hide it by acting good. White City. For ‘White City’ Pete Townshend returned to the concept based song cycle that had utilised in The Who. The album, and accompanying long form video, told the story of life on a working class council estate in Townshend’s old West London stomping ground. The songs deal with lost love, racial tension and broken dreams. The album, released in 1985, peaked at number 26 in the Billboard chart and saw similar success for the singles ‘Give Blood’ and ‘Face The Face’. The album also saw contributions from Pink Floyd guitarist David Gilmour, who also performed with ‘Deep End’, the band formed by Townshend early in 1985. The Iron Man: The Musical. This 1989 album was based on the story ‘The Iron Man’ by Ted Hughes, who Pete Townshend met whilst working at the publishing house Faber and Faber. The album features contributions from music luminaries Nina Simone and John Lee Hooker (who performs as the eponymous ‘Iron Man’) and formed the basis of a theatre production, which would be staged, at the Young Vic Theatre in London. The album also saw The Who reunited on record for the first time in seven years on the tracks ‘Dig’ and ‘Fire’, a reworking of the Arthur Brown 60s classic. Psychoderelict. Probably the most complex of the Townshend solo albums, 1993’s ‘Psychoderelict’ is a multi-layered concept album featuring dialogue harking back to his ‘Lifehouse’ project. The resulting tour featured actors performing alongside the live band. Scoop / Another Scoop / Scoop 3. The critically acclaimed Scoop series of albums gives the listener a privileged peek behind the scenes of one of popular music’s greatest songwriters. The albums showcase Pete Townshend’s career spanning demos for both The Who and his solo recordings. The first release, ‘Scoop’, was released in 1983 and includes Townshend’s versions of Who classics such as ‘So Sad About Us’, ‘Squeeze Box’, ‘Circles’, ‘Behind Blue Eyes’ and ‘Love Reign O’er Me’. ‘Another Scoop’ followed four years later and continued to provide valued access to the Pete Townshend’s vaults. Among the tracks included on this volume are ‘Pinball Wizard’, ‘Substitute’, ‘You Better You Bet’ and ‘Pictures of Lily’. ‘Scoop 3’ surfaced in 2001 and included Townshend’s initial versions of the classics ‘The Real Me’, ‘ Sea and Sand’ and ‘Eminence Front’. Deep End Live! In February 1985 Pete Townshend performed two charity shows at London’s Brixton Academy. The sold out shows benefitted the ‘Double O’ charity, which was formed by The Who in the 1970s. The band, performing under the banner ‘Deep End’, featured Pink Floyd guitarist David Gilmour and saw the band performing an eclectic range of songs, encapsulating not only Townshend’s compositions but classics such as ‘I Put A Spell On You’ and ‘Barefooting’ as well as more contemporary songs like The Beat’s ‘Save It For Later’. Townshend classics such as ‘Pinball Wizard’ and ‘Behind Blue Eyes’ also make an appearance.