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‘Like a Black Mass’: The Who, back when they were The High Numbers, kicking up a storm in 1964
03.14.2016
11:49 am
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In 1964, Kit Lambert and Chris Stamp were two young aspirant filmmakers wanting make their first feature. They had first met in a coffee bar in London, where they talked about their shared interests in film, art, music. Though from two very different backgrounds—Lambert ex-military, son of a composer, Stamp brother of actor Terence, son of a tugboat captain—there was an instant and dynamic rapport.

When they met again while working at Shepperton Studios the pair decided to work together and make a movie. It was to be their calling card—establishing them as serious film producers. They discussed options on what their film should be about and decided on making a documentary about a young Mod band and their rise to the top.
 
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The High Numbers (aka The Who) performing at the Railway Hotel, 1964.
 
While looking for a suitable group to film, Lambert chanced upon the Railway Hotel in Wealdstone, London. He was intrigued by a crowd of young Mods and their scooters outside the venue. He ventured inside. A band was blasting out songs to around 500 youngsters crammed inside—dancing, singing, ecstatically enjoying themselves under the bright red garish lights. Lambert thought the scene reminiscent of one of the circles of Hell. Listening to the four young men on stage, he knew he had found his band.

I shall always remember that night we first saw them together. I had never seen anything like it. [They] have a hypnotic effect on an audience. I realized that the first time I saw them. It was like a black mass. Even then Pete Townshend was doing all that electronic feedback stuff. Keith Moon was going wild on the drums. The effect on the audience was tremendous. It was as if they were in a trance. They just sat there watching or shuffled around the dance floor, awestruck.

They were called The High Numbers. Formerly known as The Detours and The Who. The band Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon were tipped as “the In group” among London’s Mods. The music press at the time had this to say:

The four members of the group—Roger Daltrey, Pete Townsen [sic], John Allison and Keith Moor [sic]—all come from South London. Roger attended Acton County Grammar School, Peter went to Ealing School of Art, John attended Acton County Grammar School and Keith went to Harrow Tech.

Three of the group—Roger, Peter and John—worked with a group called the Detours. Keith was formerly with The Beachcombers. Listed among the group’s favourite artistes are Buddy Guy, John Lee hooker, Howlin’ Wolf—from whom they draw inspiration.

And:

The High Numbers think of themselves as THE in group. They’re in because they wear their hair an inch long all over, and sport extravagantly striped blazers over zebra-crossing sweatshirts.

But most of all, they’re in because they play Marvin Gaye numbers and know what Mary Wells, The Miracles and Little Stevie Wonder are all about…

They’re individuals. Even in a world where everyone dresses alike, talks alike, looks alike.

You see, they’re up-to-date with a difference. They’re even ahead of themselves.

 
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All so young and innocent.
 
They were signed to publicist Pete Meaden, who insisted on the band’s name change from The Who to The High Numbers in a bid to attract a Mod following. Meaden had also written their weakish debut single “Zoot Suit”/“I’m The Face”—which he spent a lot of money on, buying-up copies of the disc to make it a hit.

Lambert and Stamp proposed filming The High Numbers for their movie project—tentatively called Mod. They recorded the band performing two songs “Ooh Poo Pah Doo” and “Gotta Dance To Keep From Crying.” The High Numbers were raw, electrifying—with a great energy that singled them out as a major talent. Lambert and Stamp abandoned their film and decided they could achieve more by managing and producing this young, powerful band.
 
More after the jump…

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Posted by Paul Gallagher
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03.14.2016
11:49 am
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