Keith Moon: There Is No Substitute Free
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MUSIC 262: Art/Prog Rock [Brian Ward Demonstrates a Tune on Piano
MUSIC 262: Art/Prog Rock [Brian Ward demonstrates a tune on piano] [Brian Ward]: So around this time in rock and roll we really start to see a lot of fragmentation going on, and that’s reflected in this course. The way we have this designed is so that we can go in different directions with the music, and that’s what the music did all sort of at the same time. One of the directions is what we now call art rock and also progressive rock. Now art rock and progressive rock are terms that are used loosely. A good way to describe it is art rock is rock and roll that is influenced by classical music while progressive rock is more influenced by jazz, so- but you have different elements in varying degrees of influence and in different ways. A good illustration of that is one of the first bands that I want to talk about is The Who. Now The Who were definitely a straight down the line rock and roll band, and they started like a lot of these other British bands: imitating the blues and rhythm and blues music from the United States, but The Who were very unique. They had probably the most four individualized members of any band of all time. All four members of the band, Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon, were all very, very different people coming from different backgrounds, and that reflected in their music, and they used that to their advantage quite a bit. But with The Who I think rock star first becoming an art form in the sense that they had longer forms and they used many structures that eventually became mini-operas and they eventually made a rock opera called “Tommy.” Now when they started out they were more on the cutting edge of hard rock. -
"The Who Sings My Generation" (Album)
“The Who Sings My Generation”—The Who (1966) Added to the National Registry: 2008 Essay by Cary O’Dell Original album Original label The Who Founded in England in 1964, Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon are, collectively, better known as The Who. As a group on the pop-rock landscape, it’s been said that The Who occupy a rebel ground somewhere between the Beatles and the Rolling Stones, while, at the same time, proving to be innovative, iconoclastic and progressive all on their own. We can thank them for various now- standard rock affectations: the heightened level of decadence in rock (smashed guitars and exploding drum kits, among other now almost clichéd antics); making greater use of synthesizers in popular music; taking American R&B into a decidedly punk direction; and even formulating the idea of the once oxymoronic sounding “rock opera.” Almost all these elements are evident on The Who’s debut album, 1966’s “The Who Sings My Generation.” Though the band—back when they were known as The High Numbers—had a minor English hit in 1964 with the singles “I’m the Face”/”Zoot Suit,” it wouldn’t be until ’66 and the release of “My Generation” that the world got a true what’s what from The Who. “Generation,” steam- powered by its title tune and timeless lyric of “I hope I die before I get old,” “Generation” is a song cycle worthy of its inclusive name. Twelve tracks make up the album: “I Don’t Mind,” “The Good’s Gone,” “La-La-La Lies,” “Much Too Much,” “My Generation,” “The Kids Are Alright,” “Please, Please, Please,” “It’s Not True,” “The Ox,” “A Legal Matter” and “Instant Party.” Allmusic.com summarizes the album appropriately: An explosive debut, and the hardest mod pop recorded by anyone. -
Keith Moon's Gretsch “D.R.B. Special”
Time Capsule By Donn Bennett Keith Moon’s Gretsch “D.R.B. Special” 1970 Gretsch 14" x 5" wood shell snare drum. It’s One day, out of the blue, he called and said he identified by the chrome DRB Special badge and decided my shop was the best place for the drum “Who 1” scratched into the shell right below. so that it could be seen and appreciated by more Moon used the drum during The Who’s 1970–’71 people. A few minutes later he arrived with the world tour. He can be seen playing the drum drum and I’ve had it ever since. (with a cricket bat!) in the included photo. Ironically, the drum could have easily ended In November 1971, a new opening band up on the other side of the Atlantic. Bob Henrit, called Bell & Arc, featuring a young Alan White who owned Henrit’s Drum Shop on Wardour on drums, was added for the final leg of the Street in London during the 1970s, recalls a day tour. White and Moon became friends and when Moon showed up with a pile of snare drums Moon would regularly show up early to check in the trunk of his Bentley. Moon offered him out White’s performances. After the tour, the drums but Henrit (he now regrets) declined Moon gave White this snare. Several years them. He specifically recalled the walnut-stained later, White used the drum to record Yes’ Gretsch with the chrome DRB Special badge. 90125 and Big Generator albums. This Keith Moon snare drum is one of the ear- Fast-forward to the late 1990s when Alan liest acquisition’s in my collection and definitely White shows up in my shop selling Girl Scout one of the highlights. -
“Quiet Please, It's a Bloody Opera”!
UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun. -
Guitar TAB Anthology
Guitar TAB Anthology Produced by Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions. ISBN-10: 1-4706-1100-7 ISBN-13: 978-1-4706-1100-2 Cover photo used by permission Album art: The Who Sings My Generation © 1965 MCA Records • A Quick One © 1966 MCA Records • The Who Sell Out © 1967 MCA Records • Tommy © 1969 MCA Records • Live at Leeds © 1970 MCA Records • Who’s Next © 1971 MCA Records • Meaty Beaty Big and Bouncy © 1971 MCA International • Quadrophenia © 1973 MCA Records • The Who by Numbers © 1975 MCA Records • Who Are You © 1978 MCA Records • Face Dances © 1981 MCA Records • It’s Hard © 1982 MCA Records CONTENTS Title Album Page 5:15 ................................... Quadrophenia ............................... 4 Baba O’Riley ........................... Who’s Next ................................ 15 Bargain ................................ Who’s Next ................................ 22 Behind Blue Eyes ....................... Who’s Next ................................ 35 Eminence Front ........................ It’s Hard ................................... 42 Happy Jack ............................ 1966 single ................................ 48 I Can See for Miles -
Serie S. T He Early Days of R Oc K
By Emmanuel Fromage, Vincent Camus, Quentin Bourguillault, and Corentin Bruneau. Credits :Wikipedia, (Queen, The Who) Recherche d’images Google. Dee- zer, And Ms BAARD !! Queen is the most famous group of the world. Basically composed of Brian May, Roger Taylor, Freddie Mercury, and John Deacon the group started to be known in the 1970s. That was the beginning of an incredible internationnal success. Series. TheSeries. Early days of Rock. – The Who is a group, formed in 1964. Belongs to The Times, the band sold over 100 millions records. It influenced Rock’n’Roll, and its suc- cess fastly reached America, before conquering the whole planet, and making fans all over the world. Special OffSpecial Queen. Queen is one of the most famous rock group of the world. At the beginning of the suc- cess, in the 1970s, they were a group of 4 (The name of the group was “Smile “ ). Brian May, Roger Taylor, Freddie Mercury, and then, John Deacon. They had the best com- mercial success of these last 30 years Influenced by other groups of their time, (from Progressive Rock ) Queen started to have an audience when they released the album “Queen II “ The music quickly became a success, and a music tour began in America, even though the sales of the album were not that good. Their next album, Sheer Heart Attack, made the begin to sold increase faster. Queen’s success reached Europe, (especially the United Kingdom ) and A Night At The Opera, which was the most expensive album which ever made, became gold disc. After an incredible free concert in Hyde Park, London in 1976 ( 200 000 people were attended during this event ) the album News Of The World was not well received by the listeners. -
The W Ho De Ultiem E Rockband Loek Dekker Loek Dekker
Loek Dekker Loek Dekker The Who De ultieme rockband Loek Dekker INHOUDSOPGAVE Voorwoord Jan Rot: Mijn generatie .................................................................................................................... 7 Proloog: The Who met Tommy in het Concertgebouw van Amsterdam, 29 september 1969 ..................................................................................................................................................................... 9 01 Alle begin is moeilijk: The Detours (1960-1963) ............................................................................... 13 02 Het mod-avontuur: The High Numbers en The Who (1964) ...........................................27 03 Een middelvinger naar de bestaande orde: My Generation (1965) ..........................45 04 Populair in Europa met singles en A Quick One (1966) .......................................................... 61 05 Is Amerika te veroveren? Murray the K, Monterey en een explosie (1967) .....75 06 The Who Sell Out brengt nog niet het grote succes (1967-1968) .................................87 07 The deaf, dumb and blind boy: Tommy (1968-1969) ...............................................................103 08 Top of the bill op Woodstock en Isle of Wight (1969) ............................................................... 115 09 Snoeihard de beste: Live at Leeds (1970) .................................................................................................129 10 Mislukking Lifehouse wordt triomf Who’s Next (1971).........................................................143 -
The Working-Class and Post-War Britain in Pete Townshend's
Class, Youth, and Dirty Jobs: the working-class and post-war Britain in Pete Townshend’s Quadrophenia This chapter examines Pete Townshend’s Quadrophenia (1973) and the way in which it depicts continuity and change in the lives of the British working-class in the period that the album documents (1964/5), the political milieu in which it was written (1972/3), and the legacy of the concept that was depicted in the screen version directed by Franc Roddam (1978/9).1 Quadrophenia was recorded and released in a fraught period of industrial militancy in Britain that had not been witnessed since the general strike of 1926.2 The album can be ‘read’ as both a social history of an element of youth culture in the mid-1960s, but also a reflection on contemporary anxieties relating to youth, class, race, and national identity in the period 1972/3.3 Similarly, the cinematic version of Quadrophenia was conceived and directed in 1978/9 in the months prior to and after Margaret Thatcher was swept to power, ushering in a long period of Conservative politics that economically, socially, and culturally reshaped British society.4 Quadrophenia is a significant historical source for ‘reading’ these pivotal years and providing a sense of how musicians and writers were both reflecting and dramatizing a sense of ‘crisis’, ‘continuity’, and ‘change’ in working-class Britain.5 Along with the novels and films of the English ‘new wave’ and contemporary sociological examinations of working-class communities and youth culture, Quadrophenia represents a classic slice of ‘social realism’, social history, and political commentary. -
Petra Haden in the Age of Mechanical Reproduction
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i2.7en Who Sells Out?: Petra Haden in the Age of Mechanical Reproduction Marianne Tatom Letts Independent scholar [email protected] Abstract In 2005, Petra Haden released her version of The Who Sell Out, notable for the meticulousness and creativity with which she mimicked the various instruments on the album, and for the fact that she produced the project with an eight-track recorder and only her own voice. This article examines the ways in which Haden’s interpretation of the classic album elevates it into the realm of “high art” while retaining its status as a commodity within the realm of popular music. Although the Who’s original recording (1967) was one of the first concept albums, its unification comes not through a storyline or characters, as with other albums of that era, but through the foregrounding of its existence as a commodity. Radio jingles for both real and fake products are interspersed among the genuine commodities of pop songs, and the cover art features the Who in fake advertisements. Haden includes the jingles and even the cover artwork in her interpretation, but the changes she makes through generating every sound with her voice provide a level of unification that the original album does not possess. Haden’s live reinterpretation (with her band the Sellouts) casts doubt on what constitutes the “authentic” version of the album, since the current lineup of the Who (two surviving members and various supporting musicians) no longer performs the material. -
Keith Moon Was Here
KEITH MOON WAS HERE by TOD DAVIES & ALEX COX FIRST DRAFT, January 2001 © 2001 2 BLACK SCREEN The opening bars of "BARBARA ANN," as played by THE BEACH BOYS, are heard. FADE IN -- EXT DREAM CALIFORNIA DAY A FANTASY VERSION of MALIBU BEACH in the EARLY SIXTIES. SURFERS, bikini-clad SURFER BABES, VOLLEYBALL, WOODIES, a SKINNY BESPECTACLED FELLOW getting SAND kicked in his face. A GANG OF SPECTACULAR FOXY BIKINI CHICKS is gathered in front of an improvised stage -- on which a band is playing an impromptu surfer music gig. The band is THE BEACH BOYS. The SONG is "BARBARA ANN." CAMERA PANS across our BEACH BOYS LOOKALIKES -- all is as it should be -- till we reach the DRUMMER. The YOUNG KEITH MOON. MOON does not thrash his kit, but plays an easygoing beat. For he is, in his fantasy, a BEACH BOY. And his drum kit is ELEVATED, at the FRONT and CENTRE of the stage. KEITH I should have been a BEACH BOY. No question. I loved that music above all others. That, and the Calfornia LIFESTYLE. Sun. Sand. Surf. And SENSUALITY. What more could a fifteen year old lad from Wembley want? But 'oo did I end up with? CUT TO -- INT SAN FRANCISCO CIVIC AUDITORIUM NIGHT REAR VIEW of a DRUMMER hammering the BIGGEST DRUM KIT anyone has ever seen, on a riser on stage. This is KEITH, at 25. It's 1971. The BAND, as KEITH's drums proudly state, is THE WHO. 3 The scene plays without dialogue. We'll hear the dialogue later. -
Anniversary of Quadrophenia
THE WHO CELEBRATE THE 40th ANNIVERSARY OF QUADROPHENIA THE WHO CELEBRATE THE 40 th ANNIVERSARY OF QUADROPHENIA WITH THE RELEASE OF ‘QUADROPHENIA: LIVE IN LONDON’ DVD IN JUNE 2014 Filmed at Wembley Arena on July 8, 2013 In 2012/2013, The Who embarked on the Quadrophenia and More Tour , performing their landmark rock opera in its entirety, marking the 40 th anniversary of the original 1973 release of this double-album masterpiece. The critically acclaimed and highly successful tour closed at London’s Wembley Arena, with the cameras rolling, to record the closing night of this historic anniversary tour. Filmed on July 8, 2013, QUADROPHENIA: LIVE IN LONDON features The Who in peak form, performing Quadrophenia from front to back, in its entirety, plus a special set of some of their all-time greatest hits. The film captures the band’s dynamic performance in front of their hometown crowd and features blistering performances of “The Real Me,” “The Punk And The Godfather,” “Doctor Jimmy” and a powerful performance of “Love Reign O’er Me.” With HD screen backdrops, archival footage and today’s advanced technology in sound, QUADROPHENIA: LIVE IN LONDON reunites The Who with bandmates John Entwistle, for “5:15,” and Keith Moon for his signature song “Bell Boy.” In addition to their performance of Quadrophenia , the band tear through classic tracks such as “Pinball Wizard,“ “Who Are You,” “You Better You Bet,” “Baba O’Riley,” “Won’t Get Fooled Again” and “Tea & Theatre” from their 2006 release Endless Wire ,” with the intensity and power only The Who can conjure. -
[LB504] the Committee on Natural Resources
Transcript Prepared By the Clerk of the Legislature Transcriber's Office Natural Resources Committee March 01, 2017 [LB504] The Committee on Natural Resources met at 9:15 a.m. on Wednesday, March 1, 2017, in Room 1525 of the State Capitol, Lincoln, Nebraska, for the purpose of conducting a public hearing on LB504. Senators present: Dan Hughes, Chairperson; Bruce Bostelman, Vice Chairperson; Joni Albrecht; Suzanne Geist; Rick Kolowski; John McCollister; Dan Quick; and Lynne Walz. Senators absent: None. [LB504] SENATOR HUGHES: It's 9:15, and I think we're going to have a full day, so in an effort to get things going and wrapped up because we have events here in the Capitol this afternoon. Welcome to the Natural Resources Committee. I'm Senator Dan Hughes; I'm from Venango, Nebraska, and represent the 44th Legislative District. I serve as Chair of this committee. The committee will take up bills in the order posted. Our hearing today is your public part of the legislative process. This is your opportunity to express your position on proposed legislation before us today. The committee members might come and go during the hearing, this is just part of the process as we have bills to introduce in other committees. I ask you to abide by the following procedures to better facilitate today's proceedings. Please silence or turn off your cell phones. Please move to the front row of chairs if you're ready to testify. Introducers will make initial statements followed by proponents, opponents, and neutral testimony. Closing remarks are for the introducing senator only.