The Who Quotes
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I don't think there's any way it could have failed. We don't know failure in this band. We didn't know failure. We got to know it a little after awhile but at that time there was no such word.
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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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He is the king. If it hadn't been for Link Wray and 'Rumble', I would have never picked up a guitar.
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A lot of writing I do on tour. I do a lot on airplanes. At home, I write a lot, obviously. When I write a song, what I usually do is work the lyric out first from some basic idea that I had, and then I get an acoustic guitar and I sit by the tape recorder and I try to bang it out as it comes.
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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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I think if Keith Moon was here today and you asked him to recall most of his early life or most of his life, he wouldn't be able to recall it.
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We have nine hungry Rottweilers on the farm.
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I mean, Eighteen years old is the age of consent in Europe and you can go anywhere and do anything you like. In America, it is dumb. At eighteen you should be able to do anything that you like, except get married.
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The first eight songs we were using someone else's monitors and it is hard to follow the changes when you are jamming if you can't hear those who you are jamming with.
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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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We'll open for anyone, we are just looking to play.
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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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With bass, especially bottom end, the vibration has to happen on stage otherwise the feel is wrong. This is why you can't scale the equipment down too far.
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It's like the mod thing is happening again.
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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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I'm still the best Keith Moon-style drummer in the world.
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Bob Dylan did the first really long record - Like A Rolling Stone - I think it was four minutes.
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I ain't heard anyone play like I do in my band and I am very happy about that.
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First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice.
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All you could do was to see them. We were backstage when the Beatles were on and you could just about hear a noise. It was just literally screaming.
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I love Adele. That's a lead singer; that's the real deal.
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Well, for the My Generation album, there was nothing to be nervous about in them days. We used to take every day as it came. Every day was just a gig and I think we did the recording between gigs literally.
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I have got an anthology album out. The American version has got the same mixes but the European version, I remixed them in the studio and added a couple of things that I have always wanted to add.
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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.