Word: works
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Dates: during 1970-1979
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...eight houses spread over 52 acres. Entwistle's songs, which are like nightshade valentines, show up on Who albums often as a kind of bleakly bemused counterpoint to Townshend's. He is also a skilled caricaturist and is now drawing A Cartoon History of The Who. In this work, Entwistle made up imaginary ancestors for each of the band members based on some of their salient characteristics. There is, for example, a certain Wild Bill Daltrey, a tightwad gunslinger who drills his victims with platinum bullets, then digs them out of the victim for reuse. Townshend's forebear...
...know what this music means, know its power and its necessary mutability. They also know what it means to the kids, not just a quick charge and an antic rush in a minute of concert footage but a change as potentially profound as any art can work, and even more immediate. All of this is in the four lines of Music Must Change that Townshend sings quietly, almost to himself...
...good deal more complex and subtle. Townshend's obsessions are the audience, music itself and a certain evasive, almost evanescent kind of spirituality that has its roots in the teaching of the Indian mystic Meher Baba, to whom Townshend is devoted. Tommy, which became the most widely known Who work, was a two-record "rock opera" about a deaf, dumb and blind pinball champ who was raised into a kind of pop artifact and rock-'n'-roll godhead. It sold more than 2 million copies, bought the band out of years of accumulated debt from broken instruments, leveled hotel rooms...
...publicist named Peter Meaden assumed informal responsibility for managing them, molding them into front men for the flourishing Mod movement. Representing a sort of secret style, a surly, dubious attitude and a way of life in which the work week was a lingering funeral and the weekend a temporary resurrection, Mod was a kind of berserk street refraction of traditional English clubmanship. Having the right clothes and shoes was important. Riding the right motor scooter was important. Gobbling the right pills in the right quantities and listening to the right music were important. All this has been captured well...
...that he was in a state of crisis, they supported him. The strongest backing, to Townshend's considerable surprise, came from Daltrey. "He said to me, 'I don't care whether we tour or make records or don't make records. I just always want to be able to work with you, always be able to sing your songs and, above everything else, I want you to be happy.' This was Roger Daltrey, right; the person I was seeing as a competitor. It was a revelation. Nobody has ever talked like that to me. Nobody. Not my mother...