The Who give one of the best live performances of Tommy at Tanglewood, Lenox, Massachusetts, July 7th, 1970.
If anyone wants to know what The Who were like at their best, then they need only take a look at the talent, passion and energy of these 4 exceptional, young musicians, who together make this an incredible and unforgettable concert.
01.“Heaven and Hell”
02. “I Can’t Explain”
04. “I Don’t Even Know Myself”
05. “Young Man Blues”
07. “It’s a Boy”
09. “Amazing Journey”
11. “Eyesight to the Blind”
13. “The Acid Queen”
14. “Pinball Wizard”
15. “Do You Think It’s Alright?”
16. “Fiddle About”
17. “Tommy Can You Hear Me?”
18. “There’s a Doctor”
19. “Go to the Mirror!”
20. “Smash the Mirror”
21. “Miracle Cure”
22. “I’m Free”
23. “Tommy’s Holiday Camp”
24. “We’re Not Gonna Take It”
25. “See Me, Feel Me”
26. “My Generation”
Just a great photograph of Keith Moon as barman fixing drinks for Ronnie Lane, Vivian Stanshall and music journalist, Chris Welch.
DM reader dogmatique passed on the following message (via a friend of a friend, and the all-connecting power of the internet) in which Mr. Chris Welch explained some of the background to this wonderful photograph by Barrie Wentzell:
“It was a wonderful night at the Crown & Cushion where Keith was ‘mine host’ I only saw this photo by Barrie [Wentzell] fairly recently, years after the event and it brought back many memories. Sad to say I’m the only survivor of this jolly scene. Incidently Keith took his role in running the pub very seriously and was most excited about his latest purchase, a Microwave oven, the first we’d ever seen. An elderly customer demanded to see the manager to complain about the service, prompting Keith to bark ‘I AM the manager’. I now realise this was a ‘set up’ planned with Viv Stanshall for my benefit. Note we are ALL smoking. No ban in those days. Freedom man!”
Many thanks to dogmatique for passing on this info, and to Chris Welch.
In this excerpt from British TV show The Real…, Larry Hagman spares no details in describing the time he drove Keith Moon to rehab after the drummer over-indulged in Black Beauties (amphetamine). Moon and Hagman were friends, having originally met on the set of Stardust, a 1973 movie about the Brit rock business starring David Essex.
GRIMMS was a like a collision between a busload of musicians, a van full of comics and a mobile library. As Supergroups go, GRIMMS was certainly the most original, literary and possibly hirsute, with their mix of poetry, music, comedy and theater.
“I don’t know what attracted the Scaffold to the Bonzos; we were incredibly anarchic, which was probably something shared by the Scaffold as well. Hence Grimms, this leap in the dark.”
We all know about the genius of The Bonzos, so let’s jump to The Scaffold, that strange hybrid pop band made up from John Gorman (who would go onto star in the children’s show Tiswas, and its adult counterpart OTT with Chris Tarrant and Alexei Sayle in the 1980s), Mike McGear (Paul McCartney’s brother), and poet Roger McGough, who had been one of the 3 Mersey Poets, and was a member of The Liverpool Scene. The Scaffold had chart success with their novelty records “Thank U Very Much”, “Lily the PInk” and “Liverpool Lou”, the last recorded with Paul McCartney and Wings
Liverpool Scene was the Liverpool Poets: McGough (works include Summer With Monika, After The Merrymaking), Brian Patten (works include Little Johnny’s Confession and Notes to the Hurrying Man) and Adrian Henri (The Mersey Sound), and musician Andy Roberts.
GRIMMS changed shape over the years as band members left, moved on or lost hair. These were quickly replaced by hats, wigs and some very special talents, including Keith Moon (The Who), Jon Hiseman (Colosseum), Michael Giles (King Crimson), John Megginson, Gerry Conway, David Richards, Zoot Money, and future Rutles John Halsey and Peter “Ollie” Halsall.
Their first album Grimms was a lucky bag of comedy, poetry and music released in 1973, which included Innes’ songs “Humanoid Boogie”, “Short Blues” and “Twyfords Vitromant”, which was followed later the same year with Rockin’ Duck and in 1975 their final album the 5 star Sleepers.
Unlike most list documentaries today (which miss out on such diamonds as GRIMMS), the seventies was an incredible time of experimentation and risk-taking. In 1975, around the release of Sleepers, the BBC (gawd bless her and all who fail in her) produced a strange series called The Camera and The Song. It was like a collection of early pop promos, with a film-maker interpreting songs by different artists - some good, some bloody awful. Into this mix came GRIMMS, and here are 2 clips from the show (opening titles and songs) featuring the genius talents of Neil Innes and co. Lovely!
More from GRIMMS plus bonus track ‘Backbreaker’, after the jump…
It’s Keith Moon’s birthday and I thought I’d share Amazing Journey: The Story of the Who to commemorate the life of one of rock ‘n’ roll’s genuinely great drummers. This detailed and entertaining two hour documentary (plus an hour and a half of extras) was co-directed by Murray Lerner who first filmed The Who at the Isle Of Wight in 1970 ( in addition to Miles Davis, Jimi Hendrix and Leonard Cohen) as well as documenting Dylan’s historic plugged-in performance at the Newport Folk Festival in the mid-Sixties. Lerner is a legend among fans of rock for his ability to be in the right place at the right time and getting it all on film. Along with co-director Paul Crowder, Lerner manages to tackle a big subject and bring it all home in Amazing Journey. They are helped considerably by Pete Townsend’s enthusiastic and no-holds-barred participation.
This film reminds me of what I loved about The Who in the first place and have somewhat forgotten over the years. The Monterey Pop footage is epic beyond belief and truly one of the defining moments in the history of punk rock and rock in general..
Man I love Sparks! They are simultaneously the geekiest AND coolest band in the history of rock. We need to be showing more love to the brothers Mael and their highly literate, fun, sexy and intelligent music here on DM - they are California boys after all. This bizarrely brilliant short concert film is the perfect excuse to post about them.
Sparks always move with the times, and frequently they were well ahead of it. In 1974 they took baroque opera-pop to the top of the UK charts, a whole year before Queen did the same thing to more acclaim. In 74/75 they pretty much invented New Wave (the proof lies in this film) and 4-5 years later when it had caught on Sparks had already moved on to inventing that staple of 80s pop, the synth-duo (through their incredible work with Giorgio Moroder). That’s not even taking into account the theory that 1976’s Big Beat album paved the way for power-pop. By the early 80s the brothers had settled down and repositioned themselves as perhaps THE quintessential New Wave band, hooking up with uber-fan Jane Weidlin of the Go-Gos along the way, and delivering the MTV staple “Cool Places”. Sparks were on the ball with their music videos too, recognising that the moving image was going to be key to music in the coming decades, and hiring a certain director called David Lynch to helm the promo for their classic 1983 stomper “I Predict”.
And that brings us back to this concert film. It is of course a brilliant look at the Sparks live set-up of the mid-Seventies post-glam era, but it also gives us some unintentionally funny moments too. It must have been a bit of a nightmare for the record company to position this brainy, sarky, odd-looking band as being another teeny-bop pop product, but boy did they try. See the over-enthusiastic reaction from the crowd to every single move the band make! Hear the roars that sound like they were from a different concert! Feel the prodding from assistant directors for bored audience members to get up and dance! Still, none of this hides the true, what-the-hell weirdness that shines out of Sparks, and particularly Ron Mael. Just check the moment at 1:40 when Ron gives a wry smile to an audience member and we see her shocked reaction.
This film is pretty short and only features four songs (“Something For The Girl With Everything”. Talent Is An Asset”, “B.C.” and “Amateur Hour”) and pop spotters will also be interested to see that Sparks are given an introduction by none other than Keith Moon and Ringo Starr:
Made by UCLA students in 1975, Sonic Boom is a short comedy starring George Kennedy, Ricky Nelson, Keith Moon, Jonathan Winters and Sal Mineo. Directed by Jeff Mandel, the associate producer was Eric Louzil, who went onto make a successful career as a writer, producer and director of low budget horror films. In an interview with Chris Radcliffe, Louzil explained how he had two ideas for his student film:
One was about killer bees coming to California either to be called Deadly Buzz or Deadly Hum to star David L. Lander and Michael Mckean a.k.a. Lenny and Squiggy before they had been cast in the hit television show Laverne & Shirley (1976-1983) and the other was Sonic Boom, a comedy short about a supersonic jet that lands in a small town and creates hysteria over an impending sonic boom that never happens. The former project got scrapped because Landers And Mckean wanted too much creative control over it.
“The way they cast Sonic Boom was simply this: they would get together at production meetings, take out the entertainment section of the Los Angeles Times and find out who had made it into press. Then they would essentially stalk these performers and ask them to help out with their student film.
Mandel and Louzil wanted either Keith Moon or Elton John to appear in the film, as Radcliffe explains:
Elton John was in town playing at the Troubadour so it was a toss up between Keith or Elton. They chose Keith because he was a bigger name at the time. They began hanging out at the clubs he was know to frequent until they caught up with him and he agreed to appear in the film for $1,400 In cocaine and a television, though the one page agreement signed between the producers and Keith read for “One Case Of Coke And A Television” - to which one can only assume that the latter he used to throw out of some window.
“There was something of a scene when the Director and some other guy went down to Palm Springs to get the cocaine and were afraid they would get busted on the return trip. In any event Keith’s scene was filmed at the Burbank Court House where he played the part of a professor wearing a cotex on his upper lip for a mustache. He arrived on the set in a gold limousine (which at that time was extremely rare and impressive) and left in a different one. The short film was eventually released theatrically in 1975 where it was shown before the feature film of the evening Man Friday (1975) starring Peter O’ Toole and Richard Roundtree. Man Friday was a retelling of the Robinson Crusoe story with a strong social message.”
Mottt the Hoople’s Ian Hunter wrote one of the best books ever written about life on the road, Diary of a Rock ‘n’ Roll Star, which told the inside story of Mott’s American tour in November and December, 1972. Mott the Hoople were one of the greatest (and sadly under-rated) bands of the 1970s, who were only saved from disbanding, by David Bowie (a fan) gifting them “All the Young Dudes” to record.
During thier five week American tour, Hunter kept a diary detailing the adventures, the tedium, the groupies, the second-hand guitar shops, the performances and meetings with David Bowie, Frank Zappa and Keith Moon. It’s an enjoyable read, more so because of Hunter’s enthusiasm, and child-like wonder of life in the States.
One night, towards the end of the tour, after the band had played Memphis, Hunter (a little worse for wear) decided he wanted to visit Elvis Presley, and begged his driver Ike to take him to “the legendary Gracelands, home of the king himself (his dad lives next door.)”
“We get out at the gate (the one with the notes) and survey total unreality in the cool Memphis night air. One of his many cousins comes out and we ask boldly if we can drive up the little road to his place, but the guy’s not having any. Elvis is in. He’s been here two or three days, and he’s just got back from the pictures an hour and a half ago so they won’t let anybody near the place. The best he can do is open the gate so we can get a clear view and he gives us a picture postcard. In my drunken state I decide this ain’t enough.”
The driver distracted the guard’s attention, and Hunter was pushed up onto a small sidewalk, where he casually made his way to Elvis’s front door.
“...I’m expecting any minute to be pulled back. Miraculously, the guards didn’t notice, and I was wearing an afghan, so they must have been bloody blind and I just went on.”
It was just before Christmas and Prelsey’s lawn had an illuminated nativity scene.
Blue bulbs outlined the driveway, and outside the front of the house were red, yellow, blue, green Christmas trees either side of the main door. It’s not really a huge house, in fact quite modest for the size of the grounds. There seem to be columns by the front door and two huge flashy chrome cars stood outside.
Hunter moved towards the back of the house, where there were more cars, and he heard dogs barking, “but you know what it’s like when you’re pissed.”
I walk across under the patio and there’s the back door. I turn the knob and it opens. Fuckin’ hell! Am I dreaming? I’m in the dude’s house; he’s somewhere within 50 feet of me now, but I daren’t go further. Inside the door there’s two more doors - one on the right looks like a sports room, but I’m a bit too far gone to tell properly, and the one on the left looks more like where he’d be - plush carpeting, a short hall and what looks like a staircase. I’ll never know if these doors opened or not because I didn’t try them. Instead, I knocked loudly. No answer. I knocked again and a black lady, very nicely dressed, peered at me through the window. I’ve since found out that it was probably Alberta, Presley’s maid.
‘I’ve come four-and-a-half thousand miles to see Elvis Presley - is it possible to see him?’
‘I’m sorry, Mr. Presley’s tired and he ain’t seeing anybody.’
‘Are you sure I can’t see him?’
‘Yes, I’m definitely sure.’
‘Well I’m sorry for the inconvenience, and I’ll go back to the gate. Don’t worry, I’m knocked out to have gotten this far. Thanks anyway.’
‘You’re welcome. Good night.’
I felt elated. I didn’t really want to meet the guy - he’d have only gotten angry at me staggering in in the middle of the night and invading his privacy. I felt like a 14-year-old groupie - but I’d done it for the buzz, and it had been great! To tell the truth, I’d get a bigger buzz out of Jerry Lee Lewis, but there I’d been, in the king’s house, and fooled the entire army. Actually I hadn’t fooled them that well because as I wandered round the front a wagon was waiting.”
Bonus ‘All the Young Dudes’ plus short doc on Mott the Hoople, after the jump…
When Oliver Reed met Keith Moon their lives changed forever. Together Moon and Reed formed a bizarre, unholy and incredible friendship that brought them both to the edge of madness and ultimately lead to their untimely deaths.
Their friendship began during the making of Ken Russell’s Tommy, as Lee Patrick recalled on olliereed.co.uk:
I was living with Keith Moon at the time and they were just about to start filming Tommy, Keith and I had spent all morning driving Soho’s sex shops buying dildoes, rubber stuff etc for Keith to use as props for Uncle Ernie.
At lunch time Keith decided to drop into Ken Russell’s office and mentioned that he’d like to meet Ollie before they started filming, Ken immediately got on the phone to Ollie and suggested a meeting, Ollie invited us to Broome Hall afternoon so we were off to Battersea Heliport where we boarded a helicopter to take us there. We arrived on his front lawn shortly afterwards, unfortunately frightening his pregnant horses, Ollie was standing there in the doorway holding 2 pint mugs whisky for us. He was a charming host and invited us to stay for dinner.
Dinner was served on a huge medieval oak table and before we started eating Ollie jumped up and grabbed two large swords which were hanging on the wall, giving one to Keith. The two of them ended up having a sword fight up and down the table, that was the appetiser! After dinner Ollie invited us down to his local pub, The Cricketers, where we all got very drunk, with Ollie and Keith undressing, each one trying to outdo the drunken antics of the other, they were so alike that it was no wonder they became great friends.
Later on, back at Broome Hall, Ollie insisted we stay the night, we were up for that, expecting to be sleeping in a magnificent bedroom, however, his entourage took up all the furnished bedrooms and we were led out to the stables!! Keith said we would pass up his invitation and go home, but Ollie would have none of it, and next thing we knew he was standing there pointing an old shotgun at us, so we said OK we’ll stay, we ended up sleeping on couches in the living room!
At the time of their meeting, in the mid-seventies, Reed was Britain’s most successful and highest paid film star, something he was always keen to let any scandal-mongering press know:
‘I’m the biggest star this country has got. Destroy me and you destroy the whole British film industry.’
He had also been voted the sexiest actor alive and told Photoplay magazine:
‘I may look like a Bedford truck, but the women know there’s a V-8 engine underneath.’
Though he also claimed the film world wasn’t where his ambitions lay:
‘I have two ambitions in life: one is to drink every pub dry, the other is to sleep with every woman on earth.’
It was disingenuous, for Reed was serious about his acting and was “always word perfect and unfailingly courteous to colleagues and technicians.” Reed was well respected as an actor, and a professional, and once came within “a sliver” of replacing Sean Connery as James Bond in the film On Her Majesty’s Secret Service, but Reed’s reputation as a hell-raiser meant the part went to George Lazenby.
Even so, by 1975, Reed had made an impressive range of films, including I’ll Never Forget What’s ‘Is Name (the first film to have the word “fuck” in it); The Jokers; The Assassination Bureau; Hannibal Brroks; The Shuttered room; Women in Love (first male-full frontal nudity, a scene which was not in the original script, and was only included after Reed encouraged Russell to film it); Sitting Target; and perhaps his best film, The Devils.
Reed had formed a creative partnership with Ken Russell, the director he called “Jesus Christ,” since they had worked together on the BBC TV drama The Debussy film. It was because of this partnership that the non-singing Reed was cast in the role of Frank in the musical Tommy. As Reed and Moon capered and drank copiously off-set, it was to have a debilitating effect for Moon on-set:
Reed’s part got bigger and bigger as Keith Moon’s got smaller and smaller, probably due to Ken Russell’s familiarity with Oliver, and the fact that he could drink himself into stupor at night and show up on time and line-perfect in the morning, while Moonie remained stuporous.
Their friendship was an unstable chemical compound based on drink, drugs, sex and pranks, as Reed was to remark:
‘I like the effect drink has on me. What’s the point of staying sober?’
The life of excess has but one destination, and as Cliff Goodwin wrote in his definitive biography of Reed, Evil Spirits, the end came during Reed’s 40th birthday party at a swanky hotel in Hollywood, when Moon decided to liven things up with his impersonation of a “human helicopter”. Moon jumped onto a table, grabbed the blades of an overhead fan, and began to spin around, above the heads of the invited guests. Unfortunately, the blades had slashed Moon’s hands and arms and he splattered the A-list guests with gore.
It was the moment that Reed realized the genie was well and truly out of the bottle and that he or Moon would die from their life of excess. Tragically, it was Moon who died six months later. Reed never recovered from Moon’s death, and later claimed a day didn’t go by when he didn’t think about Moon the Loon.
It’s a Boy’s Own Adventure Story moment. You’re at a concert with your best pal, watching your favorite band, when the drummer collapses on stage. The call goes out, “Is there a drummer in the house?” Next thing you know, your buddy has pushed you into the spotlight and there you are playing the drums with your heroes.
Well this is kind of how it went for Scot Halpin when he turned up to see his favorite band The Who open their Quadrophenia tour at the 14,000 seater Cow Palace in Daly City, San Francisco, in November 1973. Halpin and his companion arrived 12 hours before the concert began to ensure they would have good seats. They found seats up near the front of the stage, which was fortuitous for both Halpin and the band, as an hour into the gig, drummer Keith Moon passed out and was carted off stage.
The house lights came up, and a thirty minute intermission followed, while Moon was revived backstage with “a cold shower”. The Who returned to the stage, and started performing, but once again Moon collapsed - this time for good. It later transpired that Moon the Loon had ingested massive quantities of animal tranquilizers, which he had washed down with his usual bottle or two of brandy. His three band mates, Roger Daltrey, Pete Townshend and John Entwistle carried on, performing their next number “See Me, Feel Me”, with Daltrey filling-in for Keith’s drums on tambourine, before Townshend asked the audience:
“Can anybody play the drums? I mean someone good!”
It was at this moment Halpin’s companion started yelling at the stage crew that his friend could play. What he omitted to say, was that Halpin was slightly out of practice, as it was nearly a year since he had played. What happened next surprised both band and audience, and has become the stuff of legend, when concert promoter, Bill Graham approached Halpin and pulled him up onto the stage.
“Graham just looked at me and said, ‘Can you do it?’ And I said ‘Yes,“‘straight out. Townshend and Daltrey look around and they’re as surprised as I am, because Graham put me up there.”
A roadie then gave Halpin a shot of Moon’s brandy.
“Then I got really focused, and Townshend said to me, ‘I’m going to lead you. I’m going to cue you.’”
Townshend introduced him as “Scot”, and went straight into a couple of Blues standards, “Smoke Stack Lightning” and “Spoonful”. Halpin acquitted himself, kept good time and followed Townhend’s lead. Next up was The Who’s “Naked Eye”, which proved far more tricksy with its contrasting tempos. However, Halpin kept his cool and managed a steady beat throughout.
It was the band’s last number and Halpin deservedly then took his bow alongside Townshend, Daltrey and Entwistle. Backstage the band thanked:
...the skinny kid from the audience for stepping to the plate but didn’t hang around long after the show.
“They were very angry with Keith and sort of fighting among themselves,” Halpin said. “It was the opening date on their ‘Quadrophenia’ tour, and they were saying, ‘Why couldn’t he wait until after the show (if he wanted to get high)?”
Daltry, who’d begun drinking Jack Daniels from the bottle at that point, told the substitute they’d pay him $1,000 for his efforts, and a roadie gave him a tour jacket on the spot. “Then everyone split,” Halpin said. “My friend and I both had long drives ahead of us, so we loaded up on all the free food that was put out for the band, and we both headed for home.”
In the meantime, someone stole the tour jacket that Halpin had just received as a gift.
Halpin received favorable mention in the next day’s Chronicle review. He received a nice letter from the band but no money - not that it mattered.
However, the event was commemorated by Rolling Stone magazine, when they honored Halpin with “Pick-Up Player of the Year 1973.” Interviewed at the time, Halpin praised The Who’s stamina, saying:
“I only played three numbers and I was dead.”
Halpin went onto graduate from San Francisco University, and became composer-in-residence at the Headlands Centre for the Arts, in Sausalito, California. He also played with a number of bands including The Sponges, Funhouse, Folklore, Snake Doctor and Plank Road and also managed a punk rock nightclub before moving to Bloomington, Indiana, in 1995 to become a visual artist.
Halpin died in February 2008, less than a week after his birthday, he was 54.
More of Scot Halpin and The Who, plus bonus clip, after the jump…
With thanks to Heather Harris for suggesting this story!
I had the soundtrack album to Son of Dracula when I was a kid—you could buy it for 99 cents in any cut out bin in America in the late 70s—and although I didn’t really like the music that much, it featured impressive album cover art that opened out from under Harry Nilsson’s cape (see below). It just stayed in my record collection, unlistened to, but still pretty cool. It’s not like the film ever achieved “legendary lost film” status in my eyes, but when I saw a VHS bootleg for sale one day at the Pasadena Flea Market (there was a huge section of the market devoted solely to rock memorabilia and bootlegs of every stripe back in 90s) I scooped it up.
Hmmmm… It’s not like I can stand here before you and tell you it’s great—because it’s definitely not—but do take Ringo Starr’s comments on Son of Dracula as the gospel truth: “It is not the best film ever made, but I’ve seen worse.” He ought to know, he co-produced this turkey. )He’s also being a bit cagey with that statement because he’s mum on exactly how many worse films he’s seen? One other? Dozens? I’d guess it’s a number Ringo counts on just one hand…).
Featuring hard-partying musician Harry Nilsson as “Count Downe” a vampire rock musician who is about to be crowned Overlord of the Netherworld when he falls in love with a mortal and has a change of heart, and Ringo as—who else—Merlin the Magician. Son of Dracula contains celebrity cameos from Nilsson’s hard-partying rocker mates Led Zeppelin’s John Bonham and Keith Moon (see a pattern forming here already?) and a band that included Peter Frampton, Klaus Voorman and Leon Russell.
It used to be that this film was impossible to see, but now, thanks to the wonderful innovation that is YouTube, you can have it in your very home—the entire film—from right where you are sitting now…