But the reason they didn’t get behind it was because they couldn’t get to grips with the narrative.” Join Together “Pete was going through a terrible bitterness about the fact that Kit Lambert and Chris Stamp hadn’t got behind making Lifehouse as a film. It pisses me off because I don’t get any royalties for it! But I hated it when they chopped it down.” Let’s See Action “That big scream I did on ‘Won’t Get Fooled Again’ was totally instinctive, but it became kind of the focal point of the song. I found it cumbersome, the first song we’d ever done where I thought, ‘Nah, this is pretentious.’ I haven’t heard it for so long that, to be honest, I couldn’t even tell you what it sounds like,” Roger Daltrey said. To sing that song, to me, was like trying to push an elephant up the stairs. Not necessarily the sound he got – because most of the time making Tommy we were out of our boxes, God knows what we were doing – but the actual arrangements and the ideas, the harmonies and the structures.” The Seeker
I don’t think he got enough recognition for his work on that. The whole montage of sounds he got in emulating the pinball machine is extraordinary. “Kit’s production on ‘Pinball Wizard’ is absolutely tremendous. But I know John did find it very tedious,” Roger Daltrey said. I must have been stoned on something! I don’t have a lot to say about that song but it’s strange, the fans love it because it’s a Bo Diddley riff, and that always worked. “D’you know I can’t even remember recording ‘Magic Bus’. As a Who record, it was all a bit frivolous for me.” Magic Bus But I think it’d have been better if Pete had just given the song to Ronnie in the first place. He was such a lovely geezer, Ronnie, they were great guys, The Faces, all of them. Actually, I’ll tell you what it is, it’s just Pete’s tribute to Ronnie Lane. “ ‘Dogs’? Oh… … shit! That’s just bizarre. I always loved that song and you listen to the drumming on it, it’s extraordinary – like a steam engine.” Dogs We spent literally a whole day putting down layer and layer of harmonies on the ‘miles and miles’ section. “I think it’s one of the best-produced singles we ever did. So I deliberately thought I’d sing it the opposite way, with complete innocence.” I Can See For Miles “When Kit and Pete came in and said this is the next single, yeah, straight away I saw the words and knew what it was about. “I remember when I first heard ‘Happy Jack’, I thought, ‘What the fuck do I do with this? It’s like a German oompah song!’ I had a picture in my head that this was the kind of song that Burl Ives would sing, so ‘Happy Jack’ was my imitation of Burl Ives!” Pictures Of Lily “It seemed to me as though Pete was being guided into these big ideas about rock operas by Kit Lambert because Kit’s father was Constance Lambert, the founder of Sadler’s Wells and a very famous English composer.” Happy Jack I didn’t really find my voice until we got to Tommy,” Roger Daltrey said. I couldn’t identify with it, whatever the hell it was. I found it very, very difficult to sing pop. “I still couldn’t find that voice on songs like ‘Substitute’. When we were in the studio doing ‘My Generation’, Kit Lambert came up to me and said ‘STUTTER!’ I said ‘What?’ He said ‘Stutter the words – it makes it sound like you’re pilled’ And I said, ‘Oh… like I am!’ And that’s how it happened.” Substitute I control it much better now but not in those days. We’d be doing blues songs and they’d turn into this freeform, feedbacky, jazzy noise.” My Generation “We were doing this feedback stuff, even before that. That was us, y’know – it was an original song by Pete and it captured that energy and that testosterone that we had in those days. The more we try to explain it, the more we crawl up our own arses and disappear! I was very proud of that record. “Well, it’s that thing – ‘I got a feeling inside, I can’t explain’ – it’s rock’n’roll. The 20 best The Who songs according to Roger Daltrey: “I Can’t Explain”
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