Second isn't high enough for you to post in here, sorry. I'm sure you can dig up the Beatles thread.

[QUOTE=Street_Fighting_Man;13315461]Yeah, that's what The Who will say, and that's what Who history says, but have you actually heard Quadrophenia from that time period? With Daltrey in top form, Moon singing Bell Boy like a champ, and Townshend being more prominent, the performance just blows away the 96 show. Regardless of what the general attitude is to the early Quadrophenia shows, they DID have some good ones.[/QUOTE]
I've heard Drowned, Bell Boy, Sea And Sand, The Punk And The Godfather from '74. They are good. But The Who only performed Quadrohenia on one tour, dropping five songs after the very first gig. And from all reports Roger ruined the segment from insisting on explaining each song and the band didn't play well to the backing tracks. By the time they got 'round to what I've heard I'm sure they had things worked out.

I'm not saying they were bad. The Who were never bad. But I'm not such a purist that I don't think loud horns, percussion, and back-up singers didn't do this album some justice. You could tell The Who were playing to tapes back then. Bell Boy was embarrassing. They had to lip sync some of it. Good as it was, it wasn't all live. They had to play it by the numbers. I hear a really live and lively band on the DVD. I just think it sounds like Quad live should sound. Anyway, I'm reviewing it for sputnik, so I'll save whatever else I have to say for that.

Its wearing me down :(

[QUOTE=Lunch;13315988]Second isn't high enough for you to post in here, sorry. I'm sure you can dig up the Beatles thread.[/QUOTE]

:p

Moon and Enty are my favorite drummer and bassist, so there! I can post!

oh sure. over ringo and paul? tough choice...

and anyone who calls John "Enty" cannot post! :mad:

sorry :(

I feel so shamed now.

Though Paul was a damn good bass player, he did some cool **** from time to time. People underestimate him technically.

i like the beatles but coudn't tell you anything about them. i do know paul is a good musician, though. its obvious. and most likely even better then he commonly gets to show. i always saw him as the most musical beatle with his arrangements and ability to not just play any instrument (within reason) but also play it well. john is still my favorite beatle, though. his songs just have more impact overall, IMO. and i truly believe him to me the better songwriter.

kekekeke

Who Webcast by me on now, into the night :)

Just download this file:

[url]http://137.186.214.115:8000/listen.pls[/url]

and open it with your media player

Current Album: Meaty Beaty Big and Bouncy

ha! I'm rockin this shi...jeff. Boris The Spider ftw!

okay

I'm going to try bumping it up to a higher quality stream. It will stop for a sec, but should come on in at least 5 seconds. Tell me if it starts skipping or anything plz

EDIT: kdone

Current Album: Quadrophenia

it just happened. skipped a little. sounds about 5 times better. higher highs, lower lows...

alright, but is it skipping now at all?

if not, i'll try taking it higher

>_>

no. it's playing I Am The Sea. everything is perfect.

k streaming at 192 kbps now

jeff, did you get a promo code with your ticket that allows you to join the who fan club? its new. called squeeze box. if its on the ticket, where? i've tried a variety of random numbers from my ticket and i've come up empty. anyone else know anything about this?

oh, and the music just completely stopped...

started a little, then stopped again

k

I ahve more users now, so I think I'll have to take the quality down a bit more

oshi all gone now

come back

:'(

meh. i gotta run out. been a crazy day. i'll try it out when i get back. i like it. pretty cool, man. good deal...

cya

I'll play some different stuff later..

I POSTED THIS AT THE BOTTOM OF THE LAST PAGE. AFRAID NO ONE WILL SEE IT. CAN SOMEONE HELP ME OUT:


jeff, did you get a promo code with your ticket that allows you to join the who fan club? its new. called squeeze box. if its on the ticket, where? i've tried a variety of random numbers from my ticket and i've come up empty. anyone else know anything about this?

ok ignore the above post. i worked it out and grabbed these headlines from the fan club site. looks like The Who pwn3d the RHCP at the Virgin Festival:

[b]September 25, 2006

The Washington Times

The last time there was a mass gathering at Pimlico Race Course, at May's Preakness Stakes, a young champion thoroughbred suffered a devastating, career-ending injury.

At Saturday's Virgin Festival, rock legends the Who proved they're not quite ready to be put out to pasture.

From the moment Pete Townshend windmilled the opening chords of "I Can't Explain," the band had the crowd's rapt attention -- even that of the youngish horde that packed the stage area in anticipation of headliners Red Hot Chili Peppers.

The Who played a pair of tracks from the forthcoming miniopera "Endless Wire," but it was the classic tracks that wowed the audience. Roger Daltrey's voice, while gravelly, has aged well; he brought plenty of style to songs like 1981's "You Better You Bet," and his nimble harmonica work stood in for the fiddle of "Baba O'Riley's" coda.

"Pinball Wizard" kicked off a mini-"Tommy" set with intense energy that cooled effortlessly into the repose of its "See Me, Feel Me" sequence.

When Mr. Daltrey let go that shriek at the end of "Won't Get Fooled Again," he proved that song's last two lines: "Meet the new boss, same as the old boss."

It was a tough act for the Chili Peppers to top. Maybe that's why they didn't try. They sounded terrible (excepting, perhaps, guitarist John Frusciante's beautiful back-up singing). Each member seemed to be playing as if the others weren't there.

Attendees would have done better to move to the second stage and end their night with the Flaming Lips. The strange and talented alternative band boasted a stage full of Santa Clauses along with some of the day's most beguiling music.

"I can't wait to see them. My parents used to listen to them," Chris Trevino, 17, said of the Who. He was part of an ebullient group of youngsters who trekked to Baltimore from Fredericksburg, Va., -- a comparatively short trip for some in the audience Saturday.

Ellen Donahue, 29, came from Seattle, although the putative reason for the trip was to visit an East Coast boyfriend. The prospect of seeing the Who and Red Hot Chili Peppers in the same sitting was an added sweetener.

Given the nightmarish parking situation that greeted many in the crowd of 40,000, ailing Pimlico seemed a spectacularly ill-chosen venue for the first annual U.S. Virgin Festival, the baby sister of Britain's popular V-Fest. Once inside, however, all was forgiven, as the eccentric sights -- and illicit smells -- instantly created a familiar carnival atmosphere: peaceful, loud, comical, druggy, insanely frustrating.

And exhausting. [/b]

Hi John, sorry I didn't answer that thing. I couldn't find the code on my ticket, but got them to email me one. See you there.

yeah. sure thing. they have some decent forums. not just who stuff, but mostly. i'm signed up as whodude. i'm going to make a little profile and stuff. watched some video from there today. pretty nice. Pick Up The Peace sounds real good live. and townshend is answering some questions from fans. not in the forums, but at the site. i like it.

oh, and i got them to send me a code, too. pretty easy. well worth it.

ugh

never mind...

my mom won't let me sign up for it...

as I understand, I need to provide credit card info, and it's free for a year, and then they start charging? I know you can cancel it though, as it says that.

She says, "I don't think you really need that." =(

15 days

41 days :)

another positive review from Virgin Festival:

[url]http://www.spin.com/vfest06/2006/09/060923_thewho/[/url]

Saw The Who last night...and it was SPLOOGE WORTHY!

They played EVERYTHINGASD:ALKGHPAO>LGMNAPAOJSD

I STILL HAVE A BONER.

Well, that's good to know. Who was the opening band?

[QUOTE=blue3;13341927]Well, that's good to know. Who was the opening band?[/QUOTE]

Some band called Moe...they SUCKED ***...I think the Pretenders are going to be opening later in the tour...i dont really like them either...

Ah, moe. They played with Gov't Mule last time I saw them. They weren't too great. 30+ minute 'jams' that went nowhere.

I'm really jealous that you guys can see The Who. I'm going out of town and missing them by one day. I've seen them once before, but it's still really disappointing.

Some news from Chicago. Roger loses voice. Pete steps in and saves the day:

[b]The Who are now effectively a duo, but for one song Monday at the sold-out United Center, they were down to a single guitarist.

Roger Daltrey exited the stage when his voice momentarily gave out, and it was up to Pete Townshend to carry the load. He overcompensated, and uncaged one of the finest performances I've seen at a Who concert in decades.

"My Generation" became not a nostalgia anthem that looked back to 1965, but something that spoke to who Townshend and his audience are now. The 61-year-old elder statesman turned the now infamous line, "Hope I die before I get old," into a howl of dissent. "I can't die ... We can't die ... There are too many of us!"

Townshend's guitar strafed Zak Starkey's drumbeat with shuddering sustains and staccato runs, then landed one final, crashing windmill chord. "This ... is ... my ... generation, baby!" he exulted.

It was Townshend tipping his mighty ax to Dylan Thomas: "My Generation" transformed into "Do Not Go Gentle Into that Good Night," and its exhortation to "rage, rage against the dying of the light." [/b]

also for those of you with access to a credit/debit card (although there is no charge for a basic membership) the new Who fanclub at [url]http://www.thewhotour.com/[/url] is just full of good stuff daily. and lots of videos, interviews, info, message boards, etc. really nice job they have done. if you bought a ticket to a gig you are already a member. you just have to go and give them your details.

Full review of the Chicago gig:

[b]The kids may just be alright but the old guys are great. Roger Daltrey and Pete Townshend brought The Who or The Two (as some are referring to them these days) to Chicago last night and they proceeded to blow the roof off of the United Center.

Although, at one point during the show it looked like this might be their final performance when Daltrey had problems catching his breath after “You Better You Bet”. After a few brief words to Townshend, the weary singer slowly exited the stage leaving Townshend and the band to perform a loose version of the classic anthem, “My Generation” that went into the song, "Cry If You Want". Daltrey retuned there after proclaiming he wasn’t dead yet and proved it with a hard rocking version of “Won’t Get Fooled Again”. As the audience applauded in unison, Daltrey stuck to his word coming back alive swinging his microphone as Townshend kicked it up a notch coming closer to Daltry playing off of his new found energy.

After all these years the chemistry of Daltrey and Townshend is still there and more alive then ever. Call them what you will but these guys can still rock and they have the arsenal of hits as their tools to do so. Tonight’s show was no exception as the boys opened with a few of their early hits including “I Can’t Explain”, “Anyhow Anyway Anywhere” and “The Seeker”. Yet, tonight was also about previewing some of the new songs playing a song called “Fragments” and the mini-opera “Wire & Glass” which they released earlier this year. Just a few songs they have been known to preview recently that will be included on an album of new material and their first album since 1982’s “It’s Hard”.

”Let’s pretend we just went off stage and we had our oxygen, our transfusions, our coke and brandy like rock stars do…or did", Townshend jokes to the crowd before introducing the band. Still larger than life, the guitar God may look more like a college professor these days but he can deliver his signature windmills and can jump around with the best of them.

Daltrey, although stumbling briefly in the middle of the set has the powerful lungs from his youth and proved it tonight by belting out the high notes. Daltrey was on fire during tonight’s performance of “Baba O’Reilly” and even added some nice harmonica playing turning the song into a hoedown jam.

Since the 1996 Quadrophenia tour, Ringo Starr’s son, Zak Starkey, has been the man behind the skins and has proven he is the next best thing to Keith Moon. In fact, Moon who was a friend of his fathers actually gave him his first drum lessons. Zak showcased his talents during the “Tommy” medley that included “Pinball Wizard”, “Amazing Journey”, “Sparks” and “See Me Feel Me”.

The Who has always been about the raw testosterone of male youth and it’s amazing they are still able to sustain the energy today. Tonight’s set list was predictable at times but what did you expect? They played a few hits, several new songs and they showed us how lucky we are that they didn’t die before they got old.[/b]

There's almost nothing better than Baba O' Riley live :), I only think Echoes has topped that song of my best seen live songs(and maybe some other songs, but I won't bother you with that :P)

i'm not sure what Echoes is? is that some pink floyd? anyway, baba pwns it all...

here is the official press release for Endless Wire, The Who's upcoming album. so this is what they are telling the press about the recording. most of it is a track by track commentary by pete townshend himself. its long, so in two posts:
------------------------------------------------------------------


[b]Released 30th October 2006 on Polydor Records



London, September 2006.

It’s been said before but ‘long awaited’ doesn’t even begin to describe ‘Endless Wire’ the new album by The Who, the band’s first in 24 years.

Recorded, as Pete Townshend puts in the album’s sleeve notes, ‘discontinuously’ over the past four years, the nineteen tracks on the record reflect a band still pushing the boundaries of rock music and unafraid to experiment.

Alongside nine new Townshend compositions, half of the album is the full- length version of the mini opera ‘Wire And Glass’, a taster for which was released earlier this Summer.

The band are currently undertaking a sold out US tour before returning to the UK for their last European show of the year at London’s Roundhouse as part of the ‘Electric Proms’.

Talking about the album Roger Daltrey commented, "John Entwistle died and that changed the balance in the band. Pete and I are at two opposite ends of the globe, if you like, and John was the equator. Now it's very, very, different. Not sure what it is but something's happening - and it's giving us a whole new edge."

Pete Townshend – ‘This is not the old Who, we never said it would be, It is something else’.

Whatever that something else and whole new edge are, the new album has the unmistakable power and sound of a band with some unfinished business.


The tracklisting for ‘Endless Wire’

1. Fragments (Townshend/Ball)
2. A Man In A Purple Dress (Townshend)
3. Mike Post Theme (Townshend)
4. In The Ether (Townshend)
5. Black Widow’s Eyes (Townshend)
6. Two Thousand Years (Townshend)
7. God Speaks of Marty Robbins (Townshend)
8. It’s Not Enough (Townshend/Fuller)
9. You Stand By Me (Townshend)

Tracks 10 – 19 comprise the full length Mini-Opera ‘Wire And Glass’.

10. Sound Round (Townshend)
11. Pick Up The Peace (Townshend)
12. Unholy Trinity (Townshend)
13. Trilby’s Piano (Townshend)
14. Endless Wire (Townshend)
15. Fragments of Fragments (Townshend/Ball)
16. We Got A Hit (Townshend)
17. They Made My Dream Come True (Townshend)
18. Mirror Door (Townshend)
19. Tea & Theatre (Townshend)

The following are notes written by Pete Townshend about each of the tracks on ‘Endless Wire’.


FRAGMENTS

This song is based on one of the very first experiments by Lawrence Ball, a composer I commissioned to create a system, and software, that would recreate the ‘Method’ music (music accurately reflecting an individual via a website) described in my three interlocked rock-opera projects: Lifehouse (The Who 1972); Psychoderelict (Pete Townshend solo 1993); The Boy Who Heard Music (Weblog Novella 2005-2006).
In The Boy Who Heard Music a group of three young people form a band – The Glass Household – and their first big hit is this song.

MAN IN A PURPLE DRESS

After watching Mel Gibson’s harrowing 2004 film The Passion of the Christ I immediately wrote three songs. This was one of them. It is not so much a rail against the principles of justice through the ages, but a challenge to the vanity of the men who need to put on some kind of ridiculous outfit in order to pass sentence on one of their peers. It is the idea that men need dress up in order to represent God that appals me. If I wanted to be as insane as to attempt to represent God I’d just go ahead and do it, I wouldn’t dress up like a drag-queen.

MIKE POST THEME

Who songs have been used recently for TV shows. I thought a lot about why there are people who feel that isn’t a cool thing to do. Mike Post is a man who has written a number of TV themes that I feel have created a kind of regular sparkle in my life – they have reminded me that life comes one day at a time, and that it is truly the little things in life (like Soap Operas on TV) that help ease the big troubles. The larger theme in the background of this song is the statement that we are no longer strong enough or young enough to love. In a very real way, movies, novels and TV series do help us to express selfless emotions as we once did when we were in love. Men cry quietly watching TV and movies, women maybe a little more openly, but when we do that we are reconnecting with our innocent and free-flowing feelings. If only we could still do that with the principle lover in our lives.

IN THE ETHER

In my Novella The Boy Who Heard Music the narrator is Ray High, a rock star whose drug-abuse has led him to a sanatorium. While there he learns to meditate and begins to sense that someone is interfering with his quietude up in the place where he allows his mind to go. It seems almost as though they are using a Ham Radio, and old fashioned long-wave radio that was the specialist precursor to the modern internet Chat-Room. He may sense another presence, but this song reinforces how lonely it is to be ‘spiritual’. If the intention of the spiritual aspirant is to ‘become one with the infinite’, and yet life is almost the universally finite antidote to the infinite, isn’t he likely to get very lonely?

BLACK WIDOW’S EYES

A love song. We sometimes fall in love when we do not want to, and when we do not expect to. Suddenly. Foolishly. This song is about the man holding a child in the Beslan massacre who described the female terrorist who blew herself up, killing the child he held, as ‘having the most penetrating and beautiful eyes’.

TWO THOUSAND YEARS

This is one of the three songs I wrote after watching The Passion of the Christ. This one is about the fact that Judas may not have been acting to betray Christ at all, but precisely following his instructions. He waits two thousand years for us to consider this a possibility. We wait two thousand years for the New Christ. We need a lot of patience.

GOD SPEAKS, OF MARTY ROBBINS

Very simple song. God is asleep, before Creation – before the Big Bang – and gets the whim to wake, and decides it could be worth going through it all in order to be able to hear some music, and most of all, one of his best creations, Marty Robbins.

IT’S NOT ENOUGH

Watching Mepris, the ‘60s film by Lean Luc Godard starring Bridget Bardot, I found myself wondering why it is that we choose people to partner who we feel aren’t quite right. Bardot asks her lover, ‘Do you adore my legs?’ He nods. ‘My breasts?’ He nods. ‘My arms?’ He nods. She goes over her entire body. He nods every time. When she’s finished she gets up and tells him, ‘It’s not enough’.

YOU STAND BY ME

I wrote this a few minutes before appearing on my partner Rachel Fuller’s In The Attic Live webcast show from my studio in London. I had nothing new to play, and decide to write a song. This just came out. It is for her, and for Roger, for believing in me, and standing by me when I have been completely out of order. It could be for many of my family, friends and fans who have done the same. I have often been a very tricky man to live with. [/b]

[b]Tracks 10 – 19 comprise the full length Mini-Opera ‘Wire And Glass’.


SOUND ROUND

The first song from Wire & Glass, a ‘Mini-Opera’, ten songs that comprise the principle music composed so far for the novella The Boy Who Heard Music. A young man (the young Ray High) is driving a large camper bus with extreme air-con around an Estuary close to a large Power Station. He can see that the sea is swarming with a plague of jellyfish encouraged by the over-heated sea water (this is based on something that happened around 1971 in the Blackwater Estuary in Essex). He stops and looks at the water, throws a stick for his dog, who he has to rescue. In the sky he sees the future – nothing ecological or apocalyptic, more a vision of a society strangled by wire and communications.

PICK UP THE PEACE

Ray High, now an old ‘60s rocker, is meditating in what looks like a cell in a secure hospital. He sees three teenagers from his neighbourhood getting together as kids do, playing, flirting, talking, and forming a band. Then he has an intuition that they are going to become stars. They are Gabriel, Josh and Leila. (They call their band The Glass Household). In striking contrast he sees scenes from his own childhood in the same neighbourhood, bombed buildings and old soldiers.

UNHOLY TRINITY

The three kids are from very different families. Gabriel is from a show biz family of lapsed Christians. Josh is from a fairly devout Jewish family (they observe Sabbath) who have suffered a tragedy, the loss of their father in an incident in Israel. Leila, from a Muslim family who have also suffered a loss: that of her beautiful and charismatic mother who died when she was very young. They each share fantasies, and afflictions, gifts and ideas, and become deeply committed friends. Like urchin-angels they share their secrets: Gabriel hears music; Josh voices; Leila can fly.

TRILBY’S PIANO

Josh’s widowed mother vests all her hopes in her brother Hymie becoming a great man. He falls in love with Trilby, Gabriel’s goofy blonde Aunt. Trilby is the one who has nurtured Gabriel’s great musical talent, unnoticed by his precoccupied mother. The kids decide to put on a musical play at Leila’s father’s studio featuring this song, and it finally breaks Josh’s mother’s resistance to the love match. The song is sung by Gabriel. The play is a naiive children’s effort, but with a grand proscenium stage (like a large Victorian puppet theatre) a stairway and a cherub and angel filled backdrop.

ENDLESS WIRE

At some point in their rehearsals for the play, the three teenagers unearth documents that turn out to have belonged to Ray High, Leila’s father’s old studio partner. The documents refer to a crazy scheme to use the global wire network Ray saw as a young man to spread unifying music to everyone. (This matches my own vision for the Lifehouse Method, a computer-driven website through which people can commission their unique musical portrait.) They pore over the plans and realize that his scheme might be something they can make happen.

FRAGMENTS OF FRAGMENT

An instrumental version of FRAGMENTS. An example of the Method music.

WE GOT A HIT

In a series of intense discussions the three metamorphose from kids to adults and expert media and internet manipulators and we see them performing a hit on TV, radio and stage. The hit referred to in the lyric is FRAGMENTS.

THEY MADE MY DREAM COME TRUE

Still in his cell, Ray High can observe the kids’ rise to fame while meditating. He foresees a tragedy, someone at the band’s biggest ever, and last, concert will die. He rues the fact that the rock industry seems unable to change. What is never clear is whether the concert he foresees ever takes place in reality, or actually remains a dream forever.

MIRROR DOOR

The three pursue their own dream: to perform an extraordinary elaboration of their children’s play in Central Park in New York that is webcast to the entire world for charity, and during which they demonstrate Ray’s idea to ‘turn everyone into music’. Where there was once a small puppet theatre stage, there is now a massive one; where there was once a small stairway to the back of the stage, there is now a stairway hoisted by blimps that seems to reach into the heavens. The band play, it becomes clear that there are terrorists on the streets trying to distract from the celebration, but the show goes on. At the top of the stairway appear gathered a series of legendary singers from popular music, all dead. A shot rings out and the tragedy is established. Josh, a paranoid schizophrenic, has stopped taking his medication and grabbed a pistol from someone and shot Gabriel. We cannot help our own. He ascends the stairway to join the dead. Even now, it is not clear whether this particular series of events actually takes place.

It will be noted that one of the listed names of deceased singing geniuses (Doris Day) is still alive. In show-biz heaven, behind the ‘Mirror Door’ no one ever really dies (it is rather like an after-show pub gathering). FRAGMENTS, the kid’s biggest hit, becomes a moment to look back and celebrate life, death, breath, creation, science, physics, maths, literature and growth.

TEA & THEATRE

Years later Josh and Leila – now old - take tea together. Coincidentally Josh’s protective sanatorium cell is next to Ray’s and they have just – together – revived once again the children’s play, this time with the inmates of the sanatorium. They reflect on their career and lives together. The inference here is that perhaps, just maybe, Ray (the narrator) has confused the play he just saw in the Sanatorium with the one they all hoped to see happen one day in New York, in the sky, and up into the universe.[/b]

Now that is some crazy ****.

Seriously. And if its that crazy, you know its gonna kick complete ***. :thumb:

There's now video available of ITA show (Virgin Festival, Baltimore) with Jack White/Flaming Lips...

[url]http://www.intheattic.tv/watch/[/url]

Also here is reviews of Rachel/Pete/Simon/Rose Hill Drive did small show at HOB this week

****

From twt.com regarding last night's HOB show:

Wow!!!! I think that tonights show at the HOB in Chicago wasn't advertised too well as the site was pretty empty.

Pete put on a clinic in Chicago tonight!!!!

It was an inpromptu "In The Attic" performance and it opened with a set from Simon Townshend!!! He introduced a new song followed by Girl In New York and The Way It Is.

Rachel then introduced a young country band......a great singer playing guitar and his very young brother on drums. They played a couple of their songs and then Pete came out and played a country song with them! I thought it was cool how Pete stayed back in the shadows and didnt' steal these kids stage.

These kids were in awe of being on the same stage with Pete....but Pete had a good feel for the situation and stayed back in the shadows.

Pete then did his own solo show with a country song that I didn't recognized followed by Let's See Action and an advanced version of Endless Wire.

Pete was in a jovial mood to the very small crowd tonight in Chicago.

Then Rose Hill Drive hit the stage. This is a very promising up and
coming band. They were loud and powerful!!!!

Then the singer (who also plays the base) said...."I want to introduce Pete Townshend to the stage......I can't believe I even just said that"

And Pete sort of stayed behind in the background playing with this young band. The guys in the band were pretty much in awe of being on a stage and playing with a legend.

Then they all went into "Young Man Blues"!!!!!

Wow!!! This was an amazing version of Young Man Blues that went on into an extended jam that lasted for 15 minutes or so.

Pete was showing these kids how it's supposed to be done during thie version of Young Man Blues. He was absolutely on fire and the guys from Rose Hill Drive seemed awe struck!!!!!

I'm hoping that a video of this version of Young Man Blues that was performed tonight shows up sometime!!!!

Pete just kept showing up all night long with different bands....in addition to his own set.

And the crowd was very small. Weird. I think it wasn't promoted well. How often do you get to see Pete performing to a very small crowd??? It was an awesome night!!!!!!

The night closed with a group singing of "I'm One".

A great night in Chicago!!!!!!!

Where the heck was everyone????? Not often that you'll get to see Pete in such an intimate atmosphere....

WHO HEAVEN in Chicago Tonight!!!!!!!!!!!!!!!!!!!!!
=================================================

Just got home from the In the Attic performance tonite. For those of you in Chicago that missed this and for those of you unable to attend, you missed something magical tonite!

The Chicago House of Blues (the original HOB) is tiny, holding about 1200 people for standing only events. This night, seating was available which probably cut down the capacity to about 800 and the event did NOT sell out!! I estimated about 600 people there. Most I talked to did not even know this was happening until a few days ago, and if you don't keep up on Rachel's web site you wouldn't have known about it. I was about 10 feet from the stage, dead center. This venue feels like bands are literally playing in your family room and the sound is superb!

Rachel was the host and she was looking VERY hot. Tight leather pants with an embroidered skeleton head on her butt (which I believe matches those skeleton heads on Pete's scarf) with a vlack almost micro top....very sexy.

This is Rachel Fuller's event but it was dominated by Pete. Rachel selected the other artists and included on the bill tonite were (If I miss on the exact order of performers forgive me):



Simon Townshend who opened the 2 hour and fiteen minute event by playing 3 ( I believe) of his own songs. I happened to meet Simon outside the venue before it began while he was having a smoke and had a chance to say hello. Simon's set was played alone on electric and was a great way to start.

Rachel then introduced Willie Mason, a very young performer who Rachel fancies, who performed about 4 of his own songs. If you were to close your eyes you would swear you were hearing Johnny Cash from 40years ago. He was very good. All acoustic backed by his brother on drums. He then Introduced Pete who played a final song with him, with Pete playing rhythm acoustic.

It was now Pete's turn and I must say it was magical. When the applause died before he began playing he said "thanks for comimg out" I and some others yelled to him " Thank you for coming" He answered back, tongue in cheek, "...I was forced to come (by Rachel) but then again I like to being forced..." which drew a laugh. He was animated, engaging and told a story I had never heard before about his meeting one of the guys in the Flying Burrito Brothers in 1969 in California shortly after he finished Tommy. He was conversant and reminded me very much of Harry Chapin who often engaged in story telling about his life during his performances. It felt like one on one not like you were sitting with 600 other people.
Petes set included (all acoustic):

Greyhound Girl- (after performing it told a story about when he was a boy and of his father's crippled greyhound that he hoped he could nurse back to health and return to racing. Unfortunately, Pete conveyed he and the dog were on a London bus in the open air rear of the vehicle and while holding the dog it took off on Pete apparently seeing a cat or something and hence no more dog. (Very funny stuff)

Blue Red and Grey
In the Ether (accompanied by Rachel on piano)
EndlessWire
and LET"S SEE ACTION alone on acoustic!

Rachel then took the stage and played:
-Cigarettes and Housework
-It's a mother ****er (a cover of The Eeels song)
-Just Breathe accompanied by Pete on Acoustic
Rachel sings like an angel; a gorgeous voice and she is very funny and gregarious (with a mouth like a truck driver) and at one point admonished Pete when he was teasing her saying "...good thing for you I am not on stage with you in The WHo playing those tambourines" and in repsonse Pete said "I told you I was forced here but then she put on those tight leather trousers and I had to follow..."

Mikey Cuthbert then played one of his tunes

Next up was a young group Rachel introduced named Rose Hill Drive
I must say they were terrific! A stripped down three piece group, pure rock no bull**** and their lead guitarist was exceptional!! I am going to pick up one of their CD's (later in the show, Rachel announced they will be opening for The WHo at 4 California dates. I highly reccomend not missing them).
They played 3 of their own songs which really rocked and then their lead singer/ bassist said " I'd like to introduce Pete Townshend who is going to help us play this next song.......I don't ****ing believe I am standing here say ing that!" With that Pete picked up his Red Fender and played with the boys. After finishing and to everyones astonishment the riffs of YOUNG MAN BLUES came out of Pete's guitar and is was off to the races, with vocals provided by RHD's lead singer and the CROWD.....I think it was about a 10 minute jam with Pete and Rose Hill Drive's lead guitarist trading back and forth one playing rhythm and one playing lead and so on back and forth...it was unbelieveable and incredibly tight. The place went nuts and I heard people saying this is magic and I can't believe what I am hearing. To Pete's credit he kept up with the youngsters and at one point was totally getting into it and started to get in his zone. These kids were smiling ear to ear playing with him and you could tell they would have done this all night. It was really special and this moment would have been totally lost in a large venue.

The final song of the evening involved all performers singing with Rose Hill Drive playing and Pete on Acoustic.........I AM ONE.

Again, this was a magic night...the only way I can describe it....a once in a life time... and in some ways felt like a passing of the torch with the age difference very apparent between Pete and the other performers but the music transcended the time and age difference.

After seeing The Who Monday night and now this performance I can honestly say I think I enjoyed tonite more. No it was not The WHo but I think it was something very special. After tonite, this week actually, I don't believe I can see another Who perfomance, this was too perfect. I almost feel sorry for the other cities left on the tour....CLEARLY the best of The Who and Pete may have been left in Chicago!

So let's see, Simon, Mikey, Rachel, Willie Mason, Rosehill Drive, and of course Pete for over 2 hours in an intimate venue, 10 feet from the stage for $90.00 Bucks!!!!
I CALL THAT A BARGAIN..the best I ever had!!!

Thanks Rachel!

PS-I Understand ITA will also being doing this in SEATLLE for those of you up their don't miss it! This Chicago show should also be up for viewing ON ITA soon! But you had to be there!!