Go back to newsprint, go back to word of mouth and start to read books again,” he said. It’s almost like, now we should turn the whole thing off. “It’s just getting harder to disseminate the truth. There’s no doubt about that,” he said.ĭaltrey also slammed the negative impact that social media has had on the world, saying it has undermined truth. “Especially when you’ve lived through the periods of a life that we’ve had the privilege to. The singer noted how he was lucky to have lived through an era where freedom of speech was encouraged, not silenced. The Who were the odd men out, totally different.The Who legend Roger Daltrey says the ‘woke’ generation is creating a miserable world that serves to stifle the kind of creative freedom he enjoyed in the 60s. That’s what we did – woke them up a bit! That was all part of our success, though. ![]() We did get into it in some ways but the difference between The Who and all these other bands getting into psychedelia was that, though we were all into the anti-war movement, every time we went on stage we were showing them what war was really like! At Monterey they’d come to hear all this peace and love music, not see us smash up our gear and blow things up. I found it pretentious and I didn’t like it – I couldn’t wait to get back to a good bit of Otis Redding. That time, though, psychedelia, it was ⌦a bit too spongy for me. I always loved that song and you listen to the drumming on it, it’s extraordinary – like a steam engine. ![]() We spent literally a whole day putting down layer and layer of harmonies on the ‘miles and miles’ section. As Townshend later said, “I spat on the British record buyer.”ĭaltrey: “I think it’s one of the best-produced singles we ever did. A brilliantly simple song (Townshend had kept it in reserve for over a year), “I Can See For Miles” excelled the sum of its parts courtesy of Kit Lambert’s power pop production: an H-bomb of a tune crash-landing through the airwaves from another galaxy.ĭespite making the Top 10 here and in the US (their first sizeable hit there in the wake of that summer’s historic Monterey International Pop festival performance), its failure to reach No 1 left its composer indignant and disillusioned about the state of the singles market. The result, also included on their glorious The Who Sell Out LP, was nevertheless astounding. But ‘Pictures Of Lily’ never sat well on stage for some reason.” So instead of it being something suggestive, it tweaks it the other way and gives it a little bit more intrigue. ![]() So I deliberately thought I’d sing it the opposite way, with complete innocence. The saucy Victoriana theme was echoed in its press campaign of risqué nudes from the same era, one of which was later emblazoned upon the sides of Moon’s specially designed “British Exploding Drummer” kit.Ī sizeable hit at home, though perfect for a time when UK pop was shifting towards a softer, psychedelic Arcadia (Pink Floyd, Sgt Pepper, Donovan), it seems The Who themselves saw “Lily” as little more than a euphemistic quick one off the wrist.ĭaltrey: “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. The eponymous ‘wet dream’ heroine was vaudeville star Lily Bayliss, whom Townshend had seen on a vintage 1920s postcard at his girlfriend’s flat (the reverse of which had been inscribed with the line “here’s another picture of Lily”).
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