Pete Townshend Quotes
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I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.
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Even modern English people are imperious, superior, ridden by class. All of the hypocrisy and the difficulties that are endemic in being British also make it an incredibly fertile place culturally. A brilliant place to live. Sad but true.
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What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh.
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I've learned a huge amount because I've been tested and, more importantly, I've been trusted.
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I just could not believe that 30 years later we're still looking at people who are supposed to write little 2-minute pop that when they actually try to do something that's a little bit more they regard it as pretentious.
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I felt that the elegance of pop music was that it was reflective: we were holding up a mirror to our audience and reflecting them philosophically and spiritually, rather than just reflecting society or something called 'rock and roll.'
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Backstage, I get sleepy, and want to curl up and snooze. I never get nervous, whatever the event. I feel quite detached until I walk on stage, and then some gear inside me clicks and off I go like a wind up doll.
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As a young man, every bone in my body wanted to pick up a machine gun and kill Germans. And yet I had absolutely no reason to do so. Certainly nobody invited me to do the job. But that's what I felt that I was trained to do. Now no part of my upbringing was militaristic.
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To be completely honest, I think if I hadn't been bullied into the band, I would have been happier as an art student. I would have been happier in a Brian Eno world.
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I needed to give back, give back, give back. I felt guilty about my success. I felt uncomfortable about how easily I had been delivered this extraordinary life that I had.
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What theatre started to look at much earlier than any other form was the internal operations of ordinary people, sometimes using mythic models in order to tell the story.
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What we learned quite early on is what was really important to early British pop that we produced-and this is where we were distinct from almost everybody else in this respect-is that it had to reflect exactly what the audience wanted us to say.
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Everything that I had done creatively related to two or three incidents that happened to me when I was a child that I'd forgotten. Everything, absolutely everything.
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I don't really know any other musicians like me. I grew up backstage with my dad who played in a post-war dance band, so I always feel at home at a venue.
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The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I'm not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage.
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Most of my songs are about Jesus. Most of my songs are about the idea that there is salvation, and that there is a Savior. But I won't mention his name in a song just to get a cheap play.
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Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
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English banjo players really were a law unto themselves - you don't find that kind of brisk banjo playing on the original Louis Armstrong or Bix Beiderbecke records.
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I didn't start to collect records and listen to guitar players properly until I went to art school, when I'd already been playing for five years. So my style was already formed, and that's why I think it's so unique.
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It's like the mod thing is happening again.
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Keith Moon is not interested in jazz and won't ever be a jazz drummer because he's more interested in looking good and being screamed at.
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In a sense, the god we trust politically is a slightly different god than the one we bring into the fray when we enter a rock concert. One of the things I can say with absolute conviction is that I worship that god.
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Early British pop was helped tremendously by the writing of Bob Dylan who had proved you could write about political and quite controversial subjects. Certainly what we did followed on from what was happening with the angry young men in the theatre.
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I don't view the fans in the way that most performers do. As a mass of people who have paid money, I know what they want. It's a very, very, very, very, very low common denominator.